EX LIBRIS 
 
 WILLYS A. MYERS 
 
 American Vice-Consul
 
 J^ Ellis >Stanyon 
 
 X>^Poni\ Piibli.yKirvg Company
 
 COPTBIGHT 1901 BY THB PBNN PUBLISHINO COMPANY
 
 Contents 
 
 CHAP. PAGE 
 
 I. INTRODUCTION 11 
 
 II. PRINCIPLES OF SLEIGHT OF HAND 
 
 APPLICABLE TO SMALL OBJECTS . 26 
 
 III. TRICKS WITH COINS 33 
 
 IV. TRICKS WITH HANDKERCHIEFS . . 57 
 V. TRICKS WITH BALLS 93 
 
 VL HAT TRICKS 114 
 
 VII. ANTI-SPIRITUALISTIC TRICKS . . . 127 
 
 VIIL AFTER DINNER TRICKS 142 
 
 IX. MISCELLANEOUS TRICKS 159 
 
 X. STAGE TRICKS 209 
 
 XI. SHADOWGRAPHY 228 
 
 2083015
 
 Preface 
 
 The art of pretended magic dates back to the 
 remotest antiquity. It has been known under 
 various names, such as AYhite Magic, Conjuring, 
 Katural Magic, and Prestidigitation. Jannes 
 and Jambres, the magicians of Pharaoh, con- 
 tended against Moses and Aaron. In the British 
 Museum there is an Egyptian papyrus, which 
 contains an account of a magical seance given 
 by a thaumaturgist named Tchatcha-em-ankh be- 
 fore King Khufu, b. c, 3766. In this manuscript 
 it is stated of the magician : " He knoweth how 
 to bind on a head which hath been cut off, and he 
 knoweth how to make a lion follow him as if led 
 by a rope." The decapitation trick is thus no 
 new thing, while the experiment with the lion, 
 unquestionably a hypnotic feat, shows hypnotism 
 to be old. 
 
 The temples of Egypt, Greece and Rome were 
 veritable storehouses of magic and mystery. The 
 pagan priesthood attained a wonderful profi-
 
 6 preface 
 
 ciency in optical illusions. In the Middle Ages 
 magic was greatly in vogue. Later on Nostra- 
 damus conjured up the vision of the future king 
 of France for the benefit of the lovely Marie de 
 Medicis. This illusion was accomplished by the 
 aid of mirrors adroitly secreted amid hanging 
 draperies. Eeginald Scott, in 1584, in Discoverie 
 of Witchcraft, enumerates the stock feats of the 
 conjurers of his day. The list includes " swal- 
 lowing a knife ; burning a card and reproducing 
 it from the pocket of a spectator ; passing a coin 
 from one pocket to another ; converting money 
 into counters, or counters into money ; convey- 
 ing money into the hand of another person ; 
 making a coin pass through a table, or vanish 
 from a handkerchief ; tying a knot, and undoing 
 it ' by the power of words ' ; taking beads from 
 a string, the ends of which are held fast by an- 
 other person ; making corn to pass from one box 
 to another; turning wheat into flour 'by the 
 power of words ' ; burning a thread and making 
 it whole again ; pulling ribbons from the mouth ; 
 thrusting a knife into the head or arm ; putting 
 a ring through the cheek ; and cutting off a per- 
 son's head and restoring it to its former posi- 
 tion." 
 
 A number of these feats, in an improved form,
 
 pretace 7 
 
 survive to this day. In the early part of the 
 eighteenth century conjuring made considerable 
 progress. Men of education and address entered 
 the profession, thereby elevating it from the 
 charlatanry of the strolling mountebank to the 
 dignity of a theatrical performance. The nobil- 
 ity of Paris flocked to the opera house to see 
 the great Pinetti perform. Following him came 
 Torrini, Comte, Bosco, Philippe, and finally the 
 king of conjurers, Eobert-Houdin. In the year 
 18^4, Houdin inaugurated his Fantastic Evenings 
 at the Palais Koyal, Paris, and a new era dawned 
 for magic. He reformed the art by suppressing 
 the suspiciously-draped tables of his predecessors, 
 substituting for these " clumsy confederate 
 boxes " light and elegant tables and little gueri- 
 dons, undraped. He went still further in his in- 
 novations by adopting the evening dress of every- 
 day life, instead of the flowing robes of many of 
 the magicians of the old regime. His tricks were 
 of a different order, sounding the death kneU of 
 double-bottomed boxes, and apparatus which was 
 too evidently designed for the magical disappear- 
 ance and reappearance of objects. 
 
 Houdin has well earned the title of "The 
 Father of Modern Conjuring," and his autobiog- 
 raphy makes fascinating reading,
 
 8 preface 
 
 Since Houdin's time, conjuring has made rapid 
 strides. The wide dissemination of literature on 
 the subject and the consequent exposes have 
 stimulated magicians to invent new tricks, or im- 
 prove old ones. The study of magic in addi- 
 tion to being a fascinating amusement has a 
 pedagogical value, admitted by all professors of 
 psychology; it sharpens the mental faculties, 
 especially those of observation and attention. 
 
 A comprehensive but concise manual on the 
 subject of up-to-date tricks will be welcomed by 
 the student. 
 
 I take pleasure in introducing to American 
 readers, Professor Ellis Stanyon's capital manual 
 on sleight-of-hand. Professor Stanyon is one of 
 the most prolific as well as one of the cleverest 
 living writers, on the subject of legerdemain. He 
 has done much to popularize the fascinating art of 
 white magic. His excellent chapter on " After- 
 Dinner Tricks " is particularly recommended as be- 
 ing within the province of almost any amateur who 
 possesses a modicum of personal'address and a fair 
 amount of digital dexterity. I have supplemented 
 the work with chapters on " Shadowgraphy," and 
 " Stage Illusions," also a number of tricks which 
 have proved "drawing cards" in the hands of 
 American conjurers, like the late Alexander Herr-
 
 preface 9 
 
 mann, and living artists like Kellar, Elliott, Plate, 
 Eobinson, Fox, Powell, etc. In the preparation 
 of the additional matter, I ara indebted for many 
 valuable hints to those dexterous and clever 
 performers, Doctor Elliott, Adrian Plate and 
 ^\^illiani E. Robinson, who are especially noted 
 as inventive minds in the realm of pure sleight- 
 of-hand. 
 
 Henry Eidgely Evans, 
 
 Washington, D. C.
 
 Magic 
 
 CHAPTER I 
 i:n'troduction 
 
 There are one or two leading principles to be 
 borne in mind by any one taking up the study of 
 magic. Tiie llrst and foremost is, Xever tell the 
 audience what you are going to do before you do 
 it. If you do, the chances of detection are in- 
 creased tenfold, as the speciators, knowing what 
 to expect, will the more readily arrive at the true 
 method of bringing about the result. 
 
 It follows as a natural consequence that you 
 must never perform the same trick twice in the 
 same evening. It is very unpleasant to have to 
 refuse an encore ; and should ^^ou be called upon 
 to repeat a trick study to vary it as much as pos- 
 sible, and to bring it to a different conclusion. 
 There will generally be found more ways than
 
 12 ^aeic 
 
 one of working a particular trick. It is an axiom 
 in conjuring that the best trick loses half its 
 effect on repetition. 
 
 Should a hitch occur in the carrying-out of the 
 programme by the accidental dropping of an 
 article, or from any other cause, above all things 
 do not get confused, but treat the matter as a 
 good joke, and meet the difficulty with a smile, 
 making use of some such expression as the fol- 
 lowing: "Well, you see I put it down there to 
 show that it would gOo It is perfectly solid and 
 does not stick." By this means, instead of spoil- 
 ing the entertainment, you add greatly to the 
 amusement of the spectators. 
 
 Do not cultivate quick movements, at the same 
 time it will never do to be painfully slow ; but 
 endeavor to present your tricks in an easy-go- 
 ing, quiet, graceful manner. It is generally un- 
 derstood that " the quickness of the hand deceives 
 the eye," but this is entirely erroneous. It is im- 
 possible for the hand to move quicker than the 
 eye can follow, as can be proved by experiment. 
 The deception really lies in the method of work- 
 ing the trick, and in the ability of the performer 
 in misdirection, as will be seen from a perusal of 
 the following pages. 
 
 A little well-arranged talk as an introductory
 
 fntroDuction 13 
 
 to an entertainment will be found to put you on 
 good terms with your audience. A few words, 
 something like the following, will suflBce : 
 "Ladies and Gentlemen, with your kind atten- 
 tion I shall endeavor to amuse you with a series 
 of experiments in legerdemain. In doing so I 
 wish it to be distinctly understood that 1 shall 
 do my best to deceive you, and upon the extent 
 to which I am able to do so will depend my suc- 
 cess." 
 
 At the close of an entertainment a little speech, 
 of which the following is an example, will be 
 found to prove a good finish : " Ladies and Gen- 
 tlemen, in concluding my entertainment I have 
 only to say that, apart from deceiving you, which 
 was but a secondary consideration, if I have been 
 able to afford you some slight amusement I feel 
 amply rewarded." 
 
 In concluding these remarks I must enforce 
 upon the novice the necessity for constant prac- 
 tice, without which the clearest instruction would 
 be useless. This applies, not only to conjuring, 
 but equally well to any form of amusement, so 
 the would-be magician may congratulate himself 
 on the fact that the difficulties to surmount are 
 not in excess of those of any other form of en- 
 tertainment.
 
 14 Hb^QiC 
 
 Before proceeding to describe the various tricks 
 it will be well to notice one or two appliances of 
 general utility. 
 
 The Dress. — The usual attire of the modern 
 magician is the conventional evening dress, but I 
 have known performers of the present day to 
 adopt various fancy costumes. 
 
 Where the ordinary dress coat is used, each tail 
 is provided with a large pocket, known as a pro- 
 fonde, the mouth of which i^ on a level with the 
 knuckles, and slopes slightly to the side. These 
 pockets, which are usually seven inches square, 
 are lined with buckram, and sewn on rather full, 
 to keep them constantly open. They are used to 
 contain " loads " for hat tricks, etc., also to vanish 
 articles, such as watches, eggs, or balls. 
 
 In addition to these pockets, two others, known 
 as pochettes, are used on the trousers. These 
 are sewn on rather full at the back of the thigh, 
 on a level with the knuckles, and covered by the 
 tails of the coat ; they are useful to contain rings, 
 coins, or other small articles required in the 
 course of the performance. 
 
 There are also two pockets known as breast 
 pockets, one in each side of the coat. These 
 should be of a size large enough to contain a din-
 
 fntroDuction 15 
 
 ner plate, and should be made with the bottom 
 sloping a little toward the back, to prevent 
 articles placed in them from falling out. The 
 opening should be in a perpendicular position one 
 and a half inches from the edge of the coat. 
 These are loaded with rabbits, doves, etc., or any 
 large or cumbersome article required for magical 
 production. 
 
 In the case of fancy costumes the pockets, if 
 required, must be arranged as the attire permits. 
 If you perform in a dinner jacket, the ordinary 
 side pockets can be used for producing or vanish- 
 ing the articles. The breast pockets, as already 
 described, can be retained. 
 
 The Table. — There are a great many tricks 
 which can be performed without the aid of a 
 special table ; in fact, tables of any description 
 are very secondary articles in the stage settings 
 of conjurers of the present day. Where they are 
 employed they are usually of the small round 
 tripod pattern, fancifully made for show, and are 
 used only for the purpose of an ordinary table. 
 
 Tables with traps and other mechanical ap- 
 pliances are almost, if not entirely, out of date, 
 no performer with any pretensions to originality 
 making use of them.
 
 16 ^aaic 
 
 A neat little table can be made from a piece 
 of board eighteen inches in diameter, covered 
 with red baize, and hung with fancy fringe to 
 taste ; the legs taking the form of an ordinary 
 music stand. The under-side of the table is fitted 
 with a brass plate holding a pin, about two 
 inches long, to fit the socket of the stand. This 
 forms one of the most compact tables possible, 
 and is greatly in vogue, as the stand can be folded 
 up into a small compass, and placed, together 
 with the top, in a black canvas case for traveling. 
 Two of these tables will occupy very little more 
 room than one, and they look well in pairs. 
 They will generally be found to afford sufficient 
 convenience for an evening's entertainment. 
 
 The Servante. — This is a secret shelf behind 
 the performer's table, on which are placed articles 
 to be magically produced in various ways. It is also 
 ^sed to vanish articles as occasion may require. 
 
 In the absence of a specially prepared table a 
 servante can be readily devised by pulling out 
 the drawer at the back of any ordinary table 
 about six inches, and throwing a cloth over the 
 whole, the cloth being pushed well into the 
 drawer so as to form a pad to deaden the sound 
 of any article dropped into it.
 
 Introduction 17 
 
 If a tab'iv \vith a drawer cannot be obtained, a 
 servante, which will answer every purpose, can 
 be arranged by throwing a cloth over the table 
 and pinning it up behind in the form of a bag. 
 
 In the case of the small round tripod tables, a 
 small drawer, made from a cigar box, can be at- 
 tached to the under side of them, and pulled out 
 as required. The fringe decorating the edge of 
 the table will conceal the presence of the drawer ; 
 but if the whole of the under side of the table, 
 drawer included, be painted black, it cannot be 
 detected at a few paces. 
 
 There are various forms of portable servantes 
 for fixing to the back of a table or chair. A 
 description of one for use on a chair will be 
 sufficient to give a clear idea of the construction 
 of others, which can be arranged as required by 
 the ingenuity of the performer. A piece of one- 
 half inch board, seven inches by five inches, is 
 covered with green baize, and slightly padded on 
 one side with cotton wool, to prevent injury to 
 any fragile article that may come in contact with 
 it in the course of the performance. To this is 
 screwed an iron frame (Fig. 1) of the same di- 
 mensions as the board. The frame, which carries 
 a network as shown, is screwed to the board in 
 such a way that it will fold up flush with the
 
 IS 
 
 ItStlQiC 
 
 same, the whole being, when closed, under one 
 inch in thickness. The frame carrying the net- 
 work is prevented from opening too far by an 
 iron bar screwed to the back of the woodwork, 
 the sides of the frame being extended under this 
 as shown. The board is fitted with two brass 
 
 eyelets for at- 
 taching it to 
 the top rail 
 of an ordi- 
 nary chair by 
 means of two 
 screw eyes or 
 stout pins. 
 To conceal 
 
 Fig. l.-The Servants ^^^ servante 
 
 throw a fancy cloth over the back of the chair. 
 
 The Wand. — This is a light rod about fifteen 
 inches long and one-half inch in diameter, usually 
 of ebony, with ivory tips ; a plain rod, however, 
 will answer the purpose equally well. 
 
 The use of the wand is regarded by the un- 
 initiated as a mere affectation on the part of the 
 performer, but such is far from being the case. 
 Its uses are legion. In addition to the prestige 
 derived from the traditional properties of the
 
 Introduction 19 
 
 wand, which has been the mystic emblem of 
 the magician's power from time immemorial, 
 it is absolutely necessary for the successful 
 carrying-out of many experiments, as will be 
 seen in the course of the present work. For in- 
 stance, having palmed a coin, say in the right 
 hand, you lower that hand and take up the 
 wand, which effectually conceals, in a perfectly 
 natural manner, the presence of the coin. The 
 wand is now passed once or twice over the left 
 hand, which is supposed to contain the coin, and 
 on opening the hand the coin will be found to 
 have vanished. It will thus be seen that the 
 wand is of the utmost importance. 
 
 Concluding Observations. — The arrange- 
 ment of the stage is now to be considered by the 
 amateur. If the performance is to be given in a 
 parlor, a space must be curtained off at one end 
 large enough to accommodate the magic tables, 
 and allow sufficient room between them and the 
 audience to enable the conjurer to execute the 
 various exchanges, etc., necessary to the success- 
 ful accomplishment of particular tricks. When 
 called upon to give an entertainment in a house, 
 where there are two adjoining parlors, separated 
 by folding-doors, the magician can seat his
 
 20 
 
 Abadic 
 
 audience in the front parlor, and use the back 
 one for the stage, the folding-doors making an 
 admirable substitute for a curtain. E'ow as to 
 the placing of the tables (Fig. 2). It is custom- 
 ary for the large table to occupy the centre 
 of the room, beneath or just back of the 
 
 Fig. 2.— Placing of Tables 
 
 chandeliers, flanked by two small tripod tables 
 or gueridons. A couple of wax tapers in silver 
 or brass holders, placed on the centre table, gives 
 a fine effect to the whole. The amateur must 
 take care that there are no brio^ht lio^hts behind 
 his tables, or worse still a mirror. Behind the
 
 ITntroDuction 21 
 
 scenes provide a table to hold the apparatus to 
 be used in the various experiments. In arrang- 
 ing tricks for the programme very little informa- 
 tion should be afforded the inquisitive spectator 
 as to the real nature of the illusion to be per- 
 formed ; this caution being in accordance with 
 the conjurer's axiom : Never tell your audience 
 beforehand what you are about to do. For ex- 
 ample, if you are to exhibit the " rising-cards " 
 call it on your programme the " Cabalistic 
 Cards," or the " Cards of Cagliostro." This will 
 give no clue to the trick. And so with other 
 illusions. Eobert Heller, a clever entertainer^ 
 described his experiments somewhat as follows : 
 
 1. With a w^atch. 
 
 2. With thirty pieces of silver. 
 
 3. With a candle. 
 
 4. Mocha. 
 
 The late Alexander Herrmann — "Alexander 
 the Great " — was equally non-communicative. 
 "Thirty minutes with Herrmann," "A bouquet 
 of mystical novelties," etc., sufficed to describe 
 a dozen or more brilliant feats of legerdemain. 
 Arrange your magical novelties in groups, e. g. : 
 two or three coin tricks, three or four handker- 
 chief tricks, etc., and not a coin trick, then an 
 illusion with a handkerchief, followed by an-
 
 22 ^agtc 
 
 other feat with a coin. Lead up to the best 
 trick in each group with several smaller feats 
 of a more or less similar nature. This is well 
 illustrated in the " Magical production of flow- 
 ers," explained in Chapter IX. 
 
 In addition to the programmes intended for 
 distribution among the spectators, the performer 
 must have a private programme of his own, stuck 
 up in a conspicuous place behind the scenes. 
 Upon this stage-programme is a list of the tricks 
 to be performed during the evening, with the 
 articles used in each trick. This is to prevent con- 
 fusion. It is impossible for the performer or his 
 assistant to always keep in mind the multifarious 
 articles that go with each magical feat. When 
 you retire behind the scenes after each group of 
 tricks, you consult the " prompt-programme " to 
 see that you have everything in readiness for the 
 next series of illusions — for example an egg se- 
 creted under your vest, or a coin in your pocket. 
 On one occasion, I saw the celebrated Herrmann 
 completely bewildered and nonplussed because 
 he did not have such a little thing as a pin stuck 
 in the lapel of his coat, intended for use in the 
 cornucopia and flower trick. This occasioned an 
 awkward hesitation injurious to the effective 
 performance of the feat. Herrmann had failed
 
 Introduction - 23 
 
 to examine his prompt-programme behind the 
 scenes, hence his embarrassing situation. 
 
 Each trick should have an appropriate verbal 
 accompaniment, technically known as the "pat- 
 ter," or boniment, written underneath it, which 
 should in every case be learned off by heart. 
 This, especially to the beginner, is a necessity, 
 and very few, if any, of the best performers 
 work otherwise. 
 
 Having once become accustomed to a pro- 
 gramme, it should never be changed, in its en- 
 tirety, for a new one. If it be desired to vary 
 the mode of procedure, this is best done by the 
 introduction of a new trick ?nd the removal of 
 an old one. By such means the performer saves 
 himself a lot of trouble and anxiety, and is just 
 as likely to give satisfaction from the point of 
 view of an audience. This is the custom of pro- 
 fessional performers, who very rarely alter their 
 programmes ; it also accounts in a large measure 
 for their skill. 
 
 It is a weakness with young performers to 
 endeavor to crowd too many tricks into the time 
 allotted to their part. This is a mistake, and is 
 bound to lead to disastrous results. Each trick 
 requires its proper time, which is best found by 
 experiment, and the entertainment should be
 
 24 ^afifc 
 
 arranged accordingly. "A little and good" is 
 better than "a lot and bad." 
 
 A word or two as to nervousness may not be 
 out of place. If the performer can bring him- 
 self to imagine, for the time being, at any rate, 
 that he is the most wonderful individual in crea- 
 tion, his success is assured ; that is, if everything 
 has been rehearsed in private, and he knows his 
 part thoroughly. A dull, nervous, or morose 
 performer, however clever he may be, is sure to 
 make the spectators feel uncomfortable, and thus 
 spoil their enjoyment ; therefore always endeavor 
 to cultivate a cheerful manner, even under diffi- 
 culties, and you will find your audience similarly 
 affected. Apart from taking every advantage 
 for repartee, always avoid being personal, and 
 every possible opportunity for increasing the 
 effect of a trick, the performer should be totally 
 oblivious of all his surroundings and think only 
 of himself and what he is doing. Once this is 
 acquired, nervousness will be forever dispelled. 
 
 ^ot a little benefit may be derived from at- 
 tending entertainments given by other conjurers, 
 and every opportunity of so doing should be 
 taken. In this way, by listening attentively to 
 the remarks of other auditors, you will gain 
 many points, not only as to how a trick may be
 
 fntroDuctfon 25 
 
 improved, but also as to what movements in the 
 execution of the same are unnecessary or awk- 
 ward, and consequently to be avoided. Under 
 these circumstances you will be able to realize 
 the full force of Burns's well-known words, " to 
 see ourselves as others see us."
 
 CHAPTER II 
 
 PRINCIPLES OF SLEIGHT OF HAND APPLICABLE 
 TO SMALL OBJECTS 
 
 Palming. — The first thing the neophyte will 
 have to do will be to learn palming, i. e., the art 
 of holding small objects, such as coins, balls, 
 nuts, corks, etc., concealed in the hand by a 
 slight contraction of the palm. 
 
 Practise first with a coin. A half dollar is the 
 
 most convenient 
 size, and is the 
 coin generally pre- 
 ferred by conjur- 
 ers, as its milled 
 edge affords a 
 ready grip to the 
 palm. Lay the 
 
 Fig. 3. — Pa,lmiDg Coiu 
 
 coin on the right hand as shown in Fig. 3. Then 
 slightly contract the palm by pressing the ball of 
 the thumb inward, moving the coin about with the 
 forefinger of the left hand until you find it is in 
 a favorable position to be gripped by the fleshy 
 
 26
 
 Slcigbt ot IbanD Applicable to small ©bjects 27 
 
 Fig. 4. — Palming Coin 
 
 portions of the hand. Contmue to practise this 
 until YOU can safely turn the hand over without 
 any fear of letting the coin fall. 
 
 ^^hen you can accomplish this with ease, lay 
 the coin on the tips of the second and third fin- 
 gers, steadying it with the thumb as in Fig. 4. 
 Then moving the 
 thumb aside, to 
 right, bend the 
 gers, and pass 
 coin up along 
 side of the thumb 
 into the palm, which 
 should open to re- 
 ceive it, and where, if you have followed the 
 previous instructions, you will find no diificulty 
 in retaining it. 
 
 As soon as you can do this with the hand at 
 rest, practise the same movement with the right 
 hand in motion toward the left, as if you really 
 intended to place the coin in that hand. To get 
 this movement perfect, it is advisable to work in 
 front of a mirror. Take the coin in the right 
 hand and actually place it in the left several 
 times ; then study to execute the same movement 
 exactly, with the exception that you retain the 
 coin in the right hand by palming.
 
 28 /IBaglc 
 
 When appearing to transfer a coin, or anj 
 small object, from the right hand into the left, 
 the left hand should rise in a natural manner to 
 receive it. The right hand, in which is the 
 palmed coin, should fall to the side ; and the left 
 hand should be closed as if it actually contained 
 the coin, and should be followed by the eyes of 
 the performer. This will have the effect of 
 drawing all eyes in that direction, and in the 
 meantime the right hand can drop the coin into 
 the profonde, or otherwise dispose of it as may 
 be necessary for the purpose of the trick. 
 
 Let it be distinctly understood once for all that 
 when you desire to draw the attention of the 
 audience in a certain direction you must look 
 fixedly in that direction yourself. 
 
 The student who desires to become a finished 
 performer should palm the various objects, with 
 equal facility, either in the right or in the left hand. 
 
 When you can hold a coin properly, as described, 
 practise with a small lemon, a watch, or any 
 other objects of similar size. In this case, how- 
 ever, owing to the greater extent of surface, it 
 will not be found necessary to press the object 
 into the palm, but simply to close the fingers 
 round it, in the act of apparently placing it in 
 the left hand.
 
 Sleigbt of t)anD applicable to Small ©bjccts 29 
 
 Le ToL'KXIQUET. — This pass is generally 
 known by this name, so I will not depart from 
 its time-honored title. Hold the coin between 
 the fingers and thumb of the left hand (Fig. 5), 
 and then appear to take it in the right by passing 
 the thumb under and the fingers over the coin. 
 
 Under cover of the right hand the coin is 
 allowed to fall into the fingers of 
 the left, where by a slight contrac- 
 tion it may be held between the 
 first and second joints, or it may 
 be allowed to fall into the palm 
 proper. The right hand must be 
 closed and raised as if it really 
 contained the coin, and be fol- 
 lowed by the eyes of the per- 
 former ; the left falling to the 
 side, and if necessary dropping Fig. 5 
 
 the coin into the profonde. This ^' Tourniquet 
 
 pass should be performed equally well from 
 either hand. 
 
 The Finger Palm. — Lay a coin on the fin- 
 gers as shown in Fig. 6. Then in the act of ap- 
 parently placing it in the left hand, raise the 
 forefinger slightly, and clip the coin between it 
 and the second finger. The left hand must now
 
 30 
 
 /Obagic 
 
 close as if it contained the coin, and be followed 
 by the eyes of the performer, while the right 
 hand disposes of the coin as may be necessary. 
 
 Following is an 
 illustration of the 
 way in which this 
 sleight can be em- 
 ployed with good 
 effect. Place a 
 candle on the table 
 
 Fig. 6.-The Finger Palm ^^ y^^j. i^f^, and 
 
 then execute the pass as above described. The 
 thumb of the right hand should now close on the 
 edge of the coin nearest to itself and draw it back 
 a little; and at the 
 same time the candle 
 should be taken from 
 the candle-stick be- 
 tween the thumb and 
 fingers of the same 
 hand, (Fig. 7). The 
 left hand, which is 
 supposed to contain 
 the coin, should now 
 
 Fig, 7 — Application of the 
 Finger Palm 
 
 be held over the candle and opened slowly, the 
 effect to the spectators being that the coin is 
 dissolved into the flame. Both hands should at
 
 Sleiabt ot IbanD applicable to Small Objects 31 
 
 this point be shown back and front, as the coin, 
 owing to its peculiar position, cannot be seen 
 at a short distance. You now take the upper 
 part of the candle in the left hand ; then lower 
 the right hand to the opposite end and produce 
 the coin from thence, the effect being that the 
 money is passed through the candle, from one 
 end to the other. 
 
 To Change a Coin. — Sometimes, in order to 
 bring about a desired result, it is necessary to 
 change, or in conjurers' parlance to " ring," a 
 borrowed and marked coin for a substitute of 
 your own. There are many ways of effecting 
 this, but having once mastered the various 
 *' palms " the student will readil}" invent means 
 for himself. The following, however, is the one 
 generally adopted by conjurers : 
 
 Borrow a coin and have it marked. Then take 
 it between the fingers and thumb of the left 
 hand, as in " Le Tourniquet " (Fig. 5), having 
 previously secreted the substitute in the palm of 
 the right. Xow take the coin in the right hand, 
 and in doing so drop the substitute into the palm 
 of the left, which you immediately close, and re- 
 mark, " You have all seen me take the coin vis- 
 ibly from the left hand. I will now make it re-
 
 32 ISStiQiC 
 
 turn invisibly." Saying this, you appear to 
 throw the coin into the left hand, really palming 
 it, and showing your own, which every one takes 
 to be the original borrowed one. You now pro- 
 ceed with the trick in question, disposing of the 
 marked coin as may be necessary.
 
 CHAPTEK III 
 
 TEICKS WITH COINS 
 
 Magical Production of a Coin. — Come 
 forward with a coin palmed in the right hand. 
 Draw attention to the left hand, showing it back 
 and front as empty, and, as if in illustration of 
 what YOU say, give the palm a smart slap with 
 the right hand, leaving the coin behind, and 
 slightly contracting the fingers so as to retain it ; 
 now show the right hand empty, pulling up the 
 sleeve with the left hand which masks the pres- 
 ence of the coin, then close the left, and after 
 one or two passes over it with the right hand, 
 produce the coin. 
 
 A ]SrEW Coin Fold. — Take a piece of paper 
 four inches by five inches, place a coin on it and 
 fold the top of the paper down over the coin to 
 within one inch of the bottom. Then fold the 
 right hand side of the paper under the coin, treat- 
 ing the left hand side in a similar way. You 
 must now fold the bottom one inch of paper 
 
 33
 
 34 ^ag(c 
 
 under the coin and you will, apparently, have 
 wrapped it securely in the paper ; but really it is 
 in a kind of pocket, and will readily slip out into 
 either hand at pleasure. 
 
 Allow several persons in the audience to feel 
 the coin through the paper, then take it from the 
 left hand to the right, letting the coin slip out 
 into the left hand, which picks up a plate from 
 the table. You now burn the paper in the flame 
 of a candle, and, dropping the ashes on the 
 plate, the coin is found to have disappeared. 
 
 A pretty effect can be obtained if, instead of 
 using a piece of ordinary paper for the above, 
 you make use of a piece of " flash " paper, which 
 when placed in the flame of a candle vanishes 
 entirely, leaving no trace behind. 
 
 Coin and Candle. — Kepeat the last trick, 
 using " flash " paper for the same and dispensing 
 with the plate. When about to burn the paper 
 in the flame of the candle, stand with the left 
 hand, which contains the coin, holding the right 
 lappet of 3"our coat. After the flash show the 
 hand empty, then take hold of the right lappet 
 of the coat with the right hand, and in doing so 
 let the coin drop from the left hand into it. The 
 left hand immediately takes hold of the left
 
 Zx\c\\6 witb Coins 35 
 
 lapel, and both hands pull the coat open as if to 
 show that the coin is not concealed there. It is 
 now a simple matter, but very effective, to lower 
 the right hand over the candle and produce the 
 coin apparently from the flame. 
 
 The Ixyisible Flight. — Hold the coin be- 
 tween the lingers and thumb of the left hand, look- 
 ing at it yourself. From this position appear to 
 take it in the right hand by passing the thumb under 
 and the fingers over the coin. The coin is really 
 allowed to drop into the fingers of the left hand, 
 which contract slightly so as to retain it ; the 
 right hand is closed as if it really contained the 
 coin and is followed by the eyes of the performer. 
 The palm of the left hand can now be shown 
 casually, when it will appear empty, the coin be- 
 ing held between the first and second joints of the 
 fingers, which are slightly curled. The left hand 
 is now closed and the piece apparently passed 
 from the right hand into it ; the left hand is then 
 slowly opened, disclosing the coin lying on the 
 palm. 
 
 The reader will have noticed that up to this 
 point no duplicate coins have been used, nor has it 
 been necessary to exchange one coin for another. 
 This forms what may be termed legitimate sleight
 
 36 /Ragfc 
 
 of hand, and is to be recommended ; but some- 
 times for the sake of effect it is really necessary 
 to use a duplicate coin, and I will now mention 
 one or two instances. 
 
 For the following tricks a duplicate coin is pre- 
 pared with a very small hook attached to one 
 side about* one-quarter inch from its edge. This 
 com is placed in the performer's right vest pocket, 
 and is obtained by means of the folio w^ing trick. 
 
 YAi^iiSH FOR Duplicate. — Holding the coin 
 you have been using in your right hand, you ap- 
 pear to place it in the left ; instead of doing so, 
 however, you palm it. Close the left hand as if 
 it contained the coin, and then say that you will 
 pass it from that hand into your waistcoat 
 pocket ; show the hand empty and then with the 
 same hand take the duplicate coin from the 
 pocket. The other coin, you will remember, re- 
 mains palmed in the right hand. 
 
 To Pass a Coin Through the Body. — In 
 continuation of the preceding trick you place the 
 left hand (holding the hooked coin) behind the 
 body and attach the coin to the back between 
 the shoulders, remarking : — " I shall next under- 
 dertake a very difficult experiment, which con-
 
 ^riclis witb Coins 37 
 
 sists in passing the coin right through my body, 
 commencing from behind, up into my left hand " 
 (as you say this you extend the hand closed). 
 Some one is almost sure to remark that the coin 
 may be in the hand already, to which you reply : 
 — " Pardon me, no, I would not deceive you by 
 so mean an expedient. See, the left hand is per- 
 fectly empty. If you prefer it I will use the 
 other hand, which is also quite empty." You 
 should have been holding the right hand, in which 
 is the palmed coin, well extended and open, with 
 the back toward the audience. The right hand 
 will in nine cases out of ten be chosen, but should 
 you be called upon to use the left you will have 
 recourse to the method employed in the " Magical 
 Production of Coin " at the head of this chapter, 
 to get the coin into the left hand. Should the 
 right hand be chosen, you may, with some cau- 
 tion, remark : — '' Well, it's just as well to have 
 the right one, but still I left it to you." 
 
 All that remains for you to do now is to make 
 believe, in the most dramatic manner possible, 
 that the coin is travelling up the body, along the 
 arm, and into the chosen hand, whence you let it 
 fall on to a table or chair. Should the coin fall 
 on the ground, you will be careful not to expose 
 the one on your back when picking it up.
 
 38 jflRaaic 
 
 Swallowing Illusions. — Having secured 
 the coin again, appear to place it in the mouth, 
 pahning it, and producing it from the bottom of 
 the vest. Eepeat this pass, and remark : — " This 
 time, by way of variation, we will stop the coin 
 when it gets half way down and give it a sharp 
 push " (strike your chest rather violently with 
 both hands), " which will have the effect of send- 
 ing it right through the body again." You now 
 turn round and show the coin sticking on your 
 back. 
 
 Coin and Lemons. — Still keeping the coin 
 palmed from the last trick, remove the one from 
 your back and hold it betw^een the forefinger and 
 thumb of the left hand, from which you take it 
 as in the " Invisible Flight." This time, however, 
 you do actually take it with the right hand, and 
 at the same time let fall from the right hand the 
 coin concealed therein. The left hand now con- 
 tains a coin, but will be thought to be empty. 
 This movement is employed here to satisfy the 
 spectators that you are working with one coin 
 only, you having, without apparent design, 
 shown both hands empty, with the exception of 
 the piece you are using. 
 
 You now lay the hooked coin down on the
 
 Zv\c\{3 vvltb Coins 39 
 
 table and go behind the scenes for three lemons 
 and a knife, which have been placed there in 
 readiness on a plate. One of the lemons has a 
 slit cut in it, into which you insert the coin you 
 have carried off. Coming forward with the 
 lemons on the plate, you force the choice of the 
 one with the coin in the following manner : — 
 "Ladies and Gentlemen, I have here three 
 lemons. I only require one for the purpose of 
 my trick and I will ask you to decide which it 
 shall be. AYhich of the three do you prefer, the 
 right or the left, or the one behind ? " (The one 
 behind is the prepared one.) If the one behind 
 is chosen take it and proceed. If the right or 
 the left is chosen throw it to the person making 
 the selection, with the remark, " Thank you, I 
 hope you will find it sweet." You will now have 
 two left and you continue : — " I have now only 
 two lemons. Which one shall I take, the right 
 or the left ? " If the prepared one is chosen take 
 it and proceed with the trick. If the other one 
 is chosen take it with the remark : — " Very good, 
 then I will use the one that remains for the pur- 
 pose of the trick." 
 
 You now force the knife into the lemon, insert- 
 ing it in the slit already made, and give it to 
 some one to hold high in the air. ISTow pick
 
 40 /l&adic 
 
 up the coin from the table and vanish it by 
 one or other of the means already described 
 (a good method is given in the next trick), 
 and then have the fruit cut open and the coin 
 disclosed. 
 
 The above form of ambiguous questioning can 
 be used in any trick where it is essential that a 
 particular article be chosen. 
 
 You can avoid going behind the scenes by 
 adopting the following ruse; Go to the wing, 
 and extending your hand, in which is the coin, 
 behind it, call out loudly to your assistant — 
 "Bring me those lemons, please." In drawing 
 attention to the fruit it is perfectly natural for 
 you to extend your hand behind the wing and 
 thus dispose of the coin. 
 
 The Pocket Vanish. — Take a coin in the 
 right hand and make believe to place it in the 
 left, really palming it. The left hand is closed 
 as if it contained the coin and held away from 
 the body. The right hand pulls back the sleeve 
 slightly as if to show that the coin has not been 
 vanished in that direction. This movement 
 brings the right hand over the outside breast 
 pocket of the coat, into which the coin is allowed 
 to fall unperceived. The coin is now vanished
 
 drlcfts witb Coins 4i 
 
 from the left hand in the orthodox manner and 
 both hands are shown empty. 
 
 Should you desire to regain possession of the 
 coin, have the outside pocket made communicat- 
 ing with an inside one on the same side of the 
 coat; when, having shown the right hand unmis- 
 takably empty, you produce the coin thence, in a 
 magical manner. 
 
 The preceding list of coin tricks has been ar- 
 ranged in combination, the one to follow the 
 other in a natural manner, for an entertainment, 
 as actually presented to an audience. I cannot, 
 however, leave the subject of coin tricks without 
 making mention of several other very deceptive 
 experiments, which Tvill doubtless be new to the 
 majority of my readers. 
 
 To Pass a Coi:n- into an Oedinary Match- 
 box HELD BY One or the Spectators. — Pre- 
 pare a matchbox as follows: — Push open the 
 sliding portion about one inch. Then fix be- 
 tween the top of the slide and the back end of 
 the box a coin, the greater part of which is 
 overhanging the box, the whole being out of 
 sight of the casual observer. Arranged thus, 
 give the box to some one to hold with instruc- 
 tions that when vou count three the box is to be
 
 42 /iRagfc 
 
 closed smartly. This will have the effect of jerk- 
 ing the coin into the box. 
 
 You now take a duplicate coin and vanish it 
 by means of the " Pocket Vanish, " or any other 
 convenient method, counting " One ! two ! three ! " 
 when, acting according to your instructions, the 
 person will close the box, and the coin will be 
 heard to fall inside. 
 
 Coin, Wine-glass, and Paper Cone. — This 
 very pretty and amusing table trick consists in 
 causing a coin placed under a wine-glass, the 
 whole being covered with a paper cone, to disap- 
 pear and return as often as desired. 
 
 The following arrangements are necessary : — 
 Take a wine-glass, and, having placed a little 
 gum all round its edge, turn it over on a sheet 
 of white paper, and when dry cut away the 
 paper close to the glass. Obtain a Japanese 
 tray and on it lay a large sheet of paper similar 
 to that covering the mouth of the glass, and 
 stand the glass, mouth downward, on it. Make 
 a paper cone to fit over the glass and you are 
 ready to present the illusion. 
 
 Borrow a penny and lay it on the large sheet 
 of paper by the side of the Avine-glass ; cover the 
 glass with the paper cone, and place the whole
 
 C^ricfts witb Coins 43 
 
 over the coin. Command the penny to disap- 
 pear, and on removing the cone it will seem to 
 have done so, as the paper over the mouth of the 
 glass, being the same color as that on the tray, 
 effectually conceals the coin. To cause it to re- 
 appear you replace the cone and carry away the 
 glass under it. This can be repeated as often as 
 desired. 
 
 To make the experiment more effective, use 
 colored paper, which shows up against the coin 
 more than white. 
 
 Coixs, Hat, axd Plate. —In this experiment 
 a number of borrowed and marked coins are 
 passed invisibly into a hat covered with a plate. 
 
 Obtain a small metal box large enough to con- 
 tain half a dozen coins of the kind you intend to 
 use. This box should be enamelled white and 
 have an opening in one side large enough for 
 the coins to pass through. A common pill-box 
 would answer the purpose, but a metal one is 
 preferable. Place a little wax on the top of the 
 box and leave it, with the plate, on a table at 
 the rear of the stage. Borrow a silk hat, which 
 leave on your table. Then obtain the loan of 
 six marked coins, which you change for six of 
 your own, as you go back to the stage. Drop
 
 44 /IBagtc 
 
 the latter ccins into a tumbler, or lay them iu 
 some other conspicuous position on the table, 
 and go to the rear of the stage for the plate. 
 Introduce the marked coins into the box, and 
 attach it by means of the wax to the under side 
 of the plate. Come forward, and having shown 
 the hat to be quite empty, place the plate over 
 it, being careful to note the position of the hole 
 in the side of the box. 
 
 You now take the coins from the glass and 
 appear to place them in the left hand, really 
 palming them in the right, which forthwith 
 drops them into a little box containing sawdust 
 placed on the servante. The coins are retained 
 in the right hand by a slight contraction of the 
 fingers, as in "The Invisible Flight." They 
 should be held in the hand at the base of the 
 thumb and jerked into position in the act of 
 apparently passing them from one hand to the 
 other. The pass called "Le Tourniquet" is a 
 better one for a number of coins. The noise 
 of the coins as they fall into the hand is quite 
 natural, as it would be almost impossible • to 
 actually take them in silence. Now pick up 
 the hat with the right hand, holding it at arm's 
 length ; vanish the money from the left hand in 
 the usual way, at the same time tilting the hat
 
 C:ricft0 witb Coins 45 
 
 slightly in the right direction, when the coins 
 will be heard to fall inside. 
 
 To Ya:n^ish a Marked Coin from a Tum- 
 bler A^D Cause it to appear ix a Small 
 Box, WRAPPED IX Paper, in the Centre of 
 A Large Ball of Wool. — For 
 this very surprising trick you will 
 require to make the following 
 preparations : — Procure a tumbler 
 having a slit cut flush with, and 
 parallel to, the bottom, which 
 should be flat. The opening should 
 be just large enough to allow a 
 half dollar dropped into the turn- _. ^ 
 
 ,, ^ -. -^ ^ , . Fig. 8.— Prepared 
 
 bier to slip through mto your Tumbler 
 hand. (See Fig. 8.) 
 
 Obtain a small metal box large enough to take 
 the coin easily, also a flat tin tube about three 
 inches long and just wide enough for the half 
 dollar to slide through it. Place one end of this 
 tube inside the box and close the lid on it, keep- 
 ing it in position by passing an elastic band over 
 the box. You now wrap the box in paper and 
 wind a quantity of wool round it until you get a 
 large ball with the end of the tube projecting 
 about one inch. Place the ball thus prepared
 
 46 /BSagic 
 
 on a table at the rear of the stage and you are 
 ready to perform. 
 
 Show the tumbler, and draw attention to the 
 fact that it is an ordinar}^ one by filling it with 
 Avater from a jug, which can be done by placing 
 the forefinger round the slit. Eeturn the water 
 to the jug and borrow a half dollar, which has 
 been marked by the owner, allowing him to 
 actually drop it into the glass. Cover the tum- 
 bler with a handkerchief, shaking it continually 
 to prove that the coin is still there, and then 
 place it down on your table, securing the coin 
 through the slit as you do so. Going to the 
 back of the stage for the ball of wool, you insert 
 the coin into the tube and withdraw the latter, 
 when the action of the elastic band closes the box. 
 Bring the ball forward in a large glass basin and 
 have the wool unwound, disclosing the box ; on this 
 being opened the marked coin will be found within. 
 
 To Vanish a JSTumber of Coins from a 
 Plate in a Sheet of Flame. — Place a tea- 
 plate near the rear edge of jour table, and a 
 sheet of " flash " paper, large enough to cover 
 the plate, in front of it. You must also have an- 
 other plate on the servante and you are then 
 ready to commence.
 
 Ux\c\{6 witb Coins 47 
 
 After performing any trick in Avhich a number 
 of coins have been used, throw them on the plate, 
 carelessly dropping several on the table. Take 
 up the plate in one hand and the piece of paper 
 in the other, and holding the plate just behind 
 the table, and over that on the servante, appar- 
 ently sweep the loose coins on to the plate you 
 are holding, really letting all fall on the hidden 
 one, under cover of the paper, which you imme- 
 diately place over the plate in your hand. 
 
 Every one will now suppose the money to be 
 on the plate which, with studied carelessness, 
 you bring forward just over the flame of a candle 
 burning on the table. The paper ignites and dis- 
 appears in a sheet of flame, and the plate is 
 found empty. 
 
 PROGRAM:yrE and Coin.— The effect of this 
 experiment, which is an improvement on the old 
 " programme and ring " trick, as no stage assist- 
 ant is required, is as follows :■ — The performer 
 borrows a marked half dollar from a stranger in 
 the audience, immediately handing it to a gen- 
 tleman to examine the mark, date, and other 
 items. While this is being done the performer 
 obtains the loan of a programme, which he tears 
 in half, laying one half on his table. The gen-
 
 48 /HbafllC 
 
 tleman is now requested to place the coin in the 
 half of the programme held by the performer, 
 who wraps it up and gives it to him to hold. 
 He now goes to his table for a piece of sealing- 
 wax, which he passes several times over the 
 packet held by the gentleman, when immediately 
 it is found transformed into a packet of three 
 envelopes, made from the programme, alj 
 gummed and sealed one inside the other, with 
 the marked half dollar in the smallest one. As 
 the gentleman cannot see how it is done the per- 
 former repeats the trick for his benefit with the 
 other half of the programme, but the result is 
 the same. This time, however, the gentleman 
 is requested to take the last envelope to the 
 owner of the mone}^, that he may open it and 
 satisfy himself that it actually contains his own 
 coin. 
 
 The six envelopes are now rolled up and given 
 to the gentleman to hand to the lady, to keep as 
 a souvenir of the entertainment, but before he 
 has proceeded far the performer tells him he has 
 dropped one of them (he has not really done so), 
 and, failing to find it, he very naturally begins 
 to count those in his hand, when he discovers to 
 his astonishment that he holds the programme 
 restored.
 
 G^ricfts witb Coins 
 
 49 
 
 Explanation. — After the performer has bor- 
 rowed the half dollar, in the act of handing it to 
 the gentleman for examination, he adroitly 
 cbang-es it for one of his own bearino^ the mark 
 of a cross, which mark is of course taken for that 
 of the owner of the coin. The performer now 
 asks for the loan of a 
 programme, and while 
 one is being procured 
 he drops the actual bor- 
 rowed coin into the 
 smallest of the three 
 envelopes which are 
 placed one inside the 
 other in the right pro- 
 fonde. To facilitate 
 the introduction of the 
 coin a tin tube, with a 
 rather wide mouth, just 
 large enough for the 
 coin to pass through, is 
 placed in the smallest 
 envelope. After the 
 coin has been intro- 
 duced this tube is withdrawn, left in the pocket, 
 and the envelopes closed. 
 
 The flaps of the envelopes are sealed with w^ax 
 
 Fig. 9.— Packet of Three 
 Envelopes
 
 50 /Hbacjtc 
 
 beforehand and prepared with the best gum arable, 
 which is allowed to dry hard. They are moist- 
 ened with the tongue just as you are about to 
 commence the trick, and if cut as in Fig. 9, can 
 be closed all together while in the pocket. This 
 packet is laid on the table under cover of the 
 half of the programme used in the second stage 
 of the trick. 
 
 To commence the trick the performer palms a 
 similar packet of envelopes containing another 
 half dollar marked in exactly the same way as 
 the one he handed to the gentleman, and, it is 
 hardly necessary to remark, being of the same 
 appearance, and bearing the same date. When 
 rolling up the programme the performer retains 
 it and hands the gentleman the packet of envel- 
 opes ; and w^hen going to his table for the wax 
 leaves the half of the programme and the half 
 dollar thereon. By the time the first coin is 
 taken from the envelopes the packet containing 
 the actual borrowed coin will be dry and ready 
 for use. 
 
 The remaining portion of the trick will now 
 be understood. When the performer goes for 
 the other half of the programme he takes the 
 packet of envelopes with it and substitutes it as 
 before, and the trick proceeds as described.
 
 ^rtcks with Coins 51 
 
 When collecting the six envelopes for the final 
 effect the performer palms a duplicate programme 
 which has been lying on his table behind some 
 object, and substitutes this as before when handing 
 the gentleman the envelopes to take to the lady. 
 
 Filtrated Cons'. — Borrow a half dollar from 
 one of the company, wrap it up in a handker- 
 chief, and request some one to hold it over a 
 glass of water on the table. Hey, presto I The 
 coin is dropped into the glass and heard to 
 jingle. When the handkerchief is removed the 
 half dollar has disappeared, having been appar- 
 ently dissolved in the water. Placing your hand 
 under the table \^ou produce the coin, which you 
 declare has passed through the glass and table- 
 top. This exceedingly effective trick is accom- 
 plished by means of a glass disk of the same 
 diameter as a half dollar. The modus operandi 
 is as follows : Borrow a half dollar and while 
 holding it in your hand throw a handkerchief 
 over it. Under cover of the handkerchief ex- 
 change the coin for the glass disk which you have 
 concealed in your palm. Xow get some one to 
 hold the disk b}^ its edges through the handker- 
 chief, directly over the glass of water. Pro- 
 nounce your magical phrase, and command your
 
 52 AbaQfc 
 
 volunteer assistant to drop the half dollar (disk) 
 into the glass. The disk will be precipitated 
 into the glass with a jingle that exactly simulates 
 the falling of a genuine coin, and will adhere to 
 the bottom of the glass, where it will not be 
 seen. You may even pour out the water, buu 
 the disk, thanks to the power of suction, will re- 
 main in the same position, firmly attached to the 
 drinking glass, which of course must have a flat 
 bottom. A ginger-ale or beer glass of small 
 diameter comes in handy for this capital trick. 
 After sufficient palaver, the genuine half-dollar 
 may be reproduced from under the table or from 
 the pocket of the volunteer assistant. 
 
 The Penetrating Coin. — This coin trick 
 may be performed anywhere, and requires no 
 special preparation. A borrowed Derby hat is 
 placed upon the mouth of a tumbler, (Fig. 10). 
 Three half dollars are now borrowed and tossed 
 into the hat, whereupon one of the coins is seen 
 to penetrate the crown of the hat, and drop 
 visibly and audibly into the tumbler beneath. It 
 is thus explained. In the act of placing the hat 
 on the glass, secretly and without jingling, slip a 
 coin of your own between the rim of the glass 
 and the hat. The weight of the latter wull retain
 
 C^rfcfts wltb Coins 
 
 53 
 
 the coin in position, which of course is on the 
 side of the hat farthest from the spectators. The 
 dropping of the borrowed coins in the hat wdll 
 disturb the balance of the secret half-dollar, caus- 
 ing it to fall into the tumbler. It is hardly 
 necessary to remind the student that the fourth 
 coin must be gotten rid of unbeknown to the 
 audience, otherwise the 
 effect of the experiment 
 will be destroyed. In 
 putting the hat in posi- 
 tion two hands may be 
 used. This will greatly 
 facilitate the placing of 
 the coin on the rim 
 of the tumbler. You 
 should lay stress on the 
 fact that it is necessary 
 to get the hat evenly 
 on the glass. As simple 
 as this trick seems in 
 explanation, it is never- ^'^- lO-P^^^^rating Coin 
 
 theless wonderfully illusive, and can be recom- 
 mended to the amateur as Tvorthy of his reper- 
 toire, especially for the parlor, or club room. 
 
 An excellent coin trick, to be used in conjunc- 
 tion with ihe preceding illusion, is the following :
 
 54 /Iftagfc 
 
 The performer shows a coin and forthwith pro- 
 ceeds to pass it into the hat by way of the 
 crown. That there may be no doubt as to the 
 actual passing of the coin it is left sticking half 
 way through the hat ; a final push and it is heard 
 to fall inside. The coin used is a trick one con- 
 structed as follows : A groove is first turned 
 round its extreme edge deep enough to conceal a 
 small india-rubber band. It is next cut in half 
 across its diameter. A hole is drilled in the 
 centre of one half in which is inserted a needle 
 point. In the other half a slot is cut to admit 
 the needle. The two halves are now placed to- 
 gether and kept in position by passing the band 
 round the groove afore mentioned. (See Fig. 11.) 
 This coin has a distinct advantage 
 over the older form in which the 
 one half only was used, in so far 
 that it may at the outset be 
 shown as an ordinary coin. 
 ^ . , When fifivinff the final push it is, 
 
 Fi"". 11 --Trick o o i 7 
 
 "^ Coin of course, withdrawn and palmed. 
 
 Coin in the Bottle. — With a coin grooved 
 and prepared as above and cut into three pieces, 
 but minus the needle point, the amateur can per- 
 form the deceptive trick of the half-dollar in the
 
 (Triclis witb Coine 
 
 55 
 
 bottle. You first borrow a half dollar from a 
 spectator, and secretly exchange it for your 
 " folding-coin." Exhibit the bottle, which should 
 be of clear glass, preferably, and demonstrate the 
 impossibility of passing a coin into its neck. 
 Then grasp the mouth of the bottle in the man- 
 ner depicted in Fig. 12, the coin being concealed 
 
 Fiff. 12.— Coin in Bottle 
 
 from the spectators by your fingers. Bend the 
 coin and insert it in the neck of the bottle, after 
 which give the mouth of the bottle a violent 
 blow with the palm of the hand. The coin will 
 enter the bottle, and expand as soon as it passes 
 the neck. You may now pass the bottle for in-
 
 56 ^agit 
 
 spection, without any one being able to discover 
 the secret of the trick. A clever amateur with 
 the aid of a very fine metal saw and a file can 
 manufacture the folding coin for himself.
 
 CHAPTEE TV 
 
 TEICKS WITH HA:XDKERCHIEFS 
 
 Peregeinations of a ha^^dkerchief.— For 
 the following series of experiments you will re- 
 quire three fifteen inch silk handkerchiefs (the 
 best material for making these is fine quality 
 sarcenet), an ordinary small sliding match-box, a 
 candle in a candlestick, and a conjuring wand ; 
 also a false finger and a conjuring pistol, here- 
 after described. 
 
 You prepare for the series of tricks by rolling 
 up one of the handkerchiefs very small and push- 
 ing it into the back of the match-box, Avhich you 
 open about one inch for the purpose ; another is 
 rolled up and placed behind the collar on the left 
 hand side of the neck; and tlie last is loaded into 
 the false finger and placed in the right hand 
 trousers pocket. You are now ready to com- 
 mence. 
 
 Handkerchief and Candle. — " Ladies and 
 Gentlemen, the following experiment w^as sug- 
 
 57
 
 58 ^agic 
 
 gestecl to me at the age of twelve while studying 
 chemistry. I then learned that all matter was 
 indestructible. Proof of this, as you are well 
 aw^are, is afforded with an ordinary candle. You 
 may light the candle at one end and let it burn 
 to the other, but you do not destroy the matter 
 of which it is composed. What really takes place 
 is the formation of new substances, as hydrogen, 
 carbon, water, etc., which any of the text-books 
 on chemistry will explain. I will, however, give 
 you one striking illustration : " — 
 
 Pick up the match-box and light the candle ; 
 then close the box, pushing the handkerchief into 
 the right hand, and throw the box down on the 
 table. Take the candle from the candle-stick and 
 place it in the right h^nd, which masks the pres- 
 ence of the handkerchief. You now appear to 
 take something from the flame of the candle w^ith 
 the left hand, which yon close as if it really con- 
 tained an article. Open the hand slowly, look- 
 ing surprised to find you have failed, and re- 
 mark : — " Well — ^really I cannot understand this. 
 I am generally successful w^ith this trick. Oh ! I 
 know what is the matter. You see, I am using 
 the left hand ; if you do things left-handed they 
 cannot possibly be right. I will try the right 
 band." Saying this, you place the candle in the
 
 XTricI;? vvltb ManDftcrcbiets 59 
 
 left band and immediately produce the handker- 
 chief from the flame with the right, closing the 
 hand as before. It now only remains for you to 
 open the hand and develop the silk slowly. 
 
 To Ya^'ish a Handkerchief axd Produce 
 IT FROM YOUR CoLLAR. — Place your wand under 
 your left arm. Take the handkerchief and roll 
 it up small, using both hands. Affect to place 
 the handkerchief in the left hand, really palming 
 it in the right, and take your w^and from under 
 the arm in the same hand. Yanish the handker- 
 chief from the left hand, and take the one from 
 your collar, immediately placing it in the right 
 hand to mask the presence of the one already 
 there, and lay the wand down on the table. 
 
 To Pass a Haxdkerchief ixto the Pocket 
 OF A Spectator. — Obtain the assistance of a 
 young gentleman from the audience, and ask 
 him to let you have the loan of the outside breast 
 pocket of his coat. Much fun is generally caused 
 by his removing his own pocket handkerchief 
 and sundry other curious articles. Place both 
 handkerchiefs, which have all the time remained 
 in the right hand, in his pocket (you, of course, 
 are supposed to be using one only), and stand as
 
 60 /Bbagfc 
 
 far away as the limits of the stage will allo\r, 
 and say : — " E'ow, sir, do you think it possible 
 for me to remove the handkerchief from your 
 pocket without coming a step nearer to 3^ou than 
 I am at present." He will probably look con- 
 fused, and hardly know whether to say Yes or 
 No. Whatever he may say is all the same to 
 you, and you remark : — " My dear sir, do not 
 look like that ; your face is calculated to upset 
 me altogether. I scarcely know what I am do- 
 ing. What I really intended to do was to pass 
 the handkerchief from my hands into your 
 pocket." You now take the handkerchief from 
 his pocket, where, unknown to the spectators 
 and probably the gentleman himself, one still re- 
 mains. You will now vanish the handkerchief 
 as in the last trick, and let the gentleman take 
 the one from his pocket, which will seem to be 
 the same. Take the handkerchief from him, place 
 it in the right hand, which again conceals the one 
 in the palm, and lay the wand down on the 
 table. 
 
 To Fire a Handkerchief its^to a Geis^tle- 
 man's Hair. — For the purpose of this trick you 
 wnll have to make use of what is known as a con- 
 juring pistol, which, being in constant use in
 
 ITrlcfts witb "Iban^tiercbiefs 61 
 
 magical surprises, I will describe. It consists of 
 an ordinary pistol fitted \Yith a conical tin tube 
 eight inches long. The mouth of this tube is 
 about two inches in diameter and is supplied with 
 a tin cup one and one-half inches deep, having 
 its outer edge turned over all round so as to 
 afford a ready grip to the palm. The conical 
 tube is fitted with an inner tube to keep it firm 
 on the barrel of the pistol. (See Fig. 13.) 
 
 Taking up the pistol, you place the two hand> 
 kerchiefs, which look like one, in the cup ; push 
 
 Fig. 13. — Conjuring Pistol 
 
 them well down and remark : — '' I shall now fire 
 direct at the gentleman's head, and after the shot 
 the handkerchief will be found firmly embedded 
 in his hair, and will, not unlikely, be seen pro- 
 truding from each of his ears. It just depends 
 on the force of the shot, you know, and I need 
 hardly say I loaded the pistol myself, and am 
 totally ignorant of fire-arms. Are you ready, 
 sir ? then good-bye ! " Place the •' muzzle " of
 
 62 /IBaQic 
 
 the pistol in the left hand while you shake hands 
 Avith the gentleman. In taking the pistol back 
 into the right hand to fire it, you leave the cup 
 behind in the left hand, and at the instant you 
 pull the trigger, you drop it into your pocket on 
 the left side. When discharging the pistol j^ou 
 will, of course, stand with your right side to the 
 audience. 
 
 You now ask the gentleman to take the hand- 
 kerchief from his hair, telling him it is just 
 behind his left ear (of course it is not really 
 there) ; and w^hile he is trying to find it you 
 stand with your hands in your trousers pockets, 
 telling him to make haste, you cannot wait all 
 the evening, etc. When he has tried some time 
 and failed to find it you take your hands from 
 your pockets, having got the false finger into 
 position between the second and third fingers. 
 Showing the hands back and front (the addition 
 of an extra finger will not be noticed), you pass 
 them several times over the head of the gentle- 
 man, then lowering the hands on to his head you 
 detach the finger and draw out the handkerchief. 
 The false finger is laid dow^n on the table under 
 cover of the handkerchief. 
 
 The finger is made of thin spun brass painted 
 flesh color ; it is quite hollow from tip to root,
 
 tTricks wltb IbanDkercbiets 63 
 
 and is shaped for fitting between the second and 
 third fingers, (Fig. 14). It can be used in many 
 tricks with handkerchiefs, and is really an indis- 
 pensable accessory. 
 
 This concludes the series alluded to in the 
 beginning of this chapter. I will now describe 
 a number of handkerchief tricks complete i^ 
 themselves. 
 
 Fig. 14. — False Finger 
 
 The Handkerchief Cabinet. — This very 
 useful piece of apparatus should be in the 
 repertoire of every amateur magician, as it is 
 available for producing, changing, or vanishing a 
 handkerchief. Its secret lies in the fact that it 
 contains two drawers, bottom to bottom, the 
 lower one being hidden by a sliding panel. 
 When standing on the table the top drawer only 
 is visible, and the cabinet looks the picture of 
 innocenc-e, but if turned over and stood on its 
 opposite end, the sliding panel falls, exposing the 
 hidden drawer, and hiding that which for the 
 time being is at the bottom, (Fig. 15). The
 
 64 
 
 ^agic 
 
 cabinet is about two inches square by four inches 
 high. 
 
 If required for production you proceed as 
 follows : — Having placed a silk handkerchief in 
 the concealed drawer, introduce the cabinet, take 
 out the empty drawer, and give it for exami- 
 nation. Eeplace the drawer, secretly turn over 
 
 the cabinet, and place it 
 on your table. You now 
 go through any form of 
 incantation you please, 
 open the drawer and take 
 out the handkerchief. 
 
 If you desire to vanish 
 a handkerchief you will 
 have it placed in the 
 drawer by one of the 
 spectators, and while go- 
 ing to the table turn over 
 the box. When the 
 drawer is opened the 
 handkerchief will have disappeared. 
 
 Should you wish to change one handkerchief 
 for another you will beforehand conceal say a red 
 handkerchief in the cabinet ; then taking a white 
 one, have it deposited in the upper drawer, turn 
 over the cabinet as before, pull out the now 
 
 Fig. 15. — Handkerchief 
 Cabinet
 
 Ztic}\Q witb 1banO??ercblet0 65 
 
 uppermost drawer, and produce the red handker- 
 chief. 
 
 From the foregoing description it will be 
 obvious that the cabinet is capable of being used 
 in conjunction with many tricks. 
 
 The Handkeechief Yai^isher. — One of the 
 best appliances for causing the disappearance of 
 a handkerchief may be made from a small 
 celluloid ball as follows : — Obtain a ball one and 
 three-fourth inches in diam^eter, which will take 
 three small silk handkerchiefs if desired, and cut 
 a one inch hole in any part of its surface. On 
 the side of the ball opposite the opening fix a 
 loop of flesh-colored thread, long enough to pass 
 easily over the thumb, and to suspend the ball on 
 the back of the hand so that it does not hang too 
 low. 
 
 When required for use the ball is taken up 
 secretly under cover of the handkerchief, and the 
 thumb of the left hand is passed through the loop. 
 Then, while appearing to roll up the handker- 
 chief, it is worked through the opening into the 
 ball, which is instantly pushed over to the back 
 of the left hand under cover of the right. The 
 palms of the hands are now shown empty, when 
 the handkerchief will seem to have vanished
 
 66 yiRaaic 
 
 entirely. When using the vanisher you will, of 
 course, stand with your right side to the audience. 
 It is well to be provided with two or three of 
 these accessories, in different sizes. 
 
 Magical Peoduction of Handkerchiefs. 
 — The performer comes on the stage showing 
 both hands empty, back and front. He then 
 pulls up both sleeves and immediately produces a 
 white silk handkerchief, about eighteen inches 
 square, which he passes for examination. Then 
 by simply shaking the handkerchief he obtains 
 from it about half a dozen other colored ones 
 about fifteen inches square. The colored hand- 
 kerchiefs are then caused to vanish by simply 
 rolling them up in the hands, being immediately 
 afterwards reproduced, all tied together by the 
 corners, from the white one. 
 
 The necessary preparations for the trick are as 
 follows : — A slit one half inch long is made in 
 the seam of the trousers at the right knee, and 
 two of the colored handkerchiefs, each having a 
 minute piece of blackened cork tied to one cor- 
 ner, are pushed into this slit, the corks being left 
 protruding to enable the performer to instantly 
 draw them out. Two handkerchiefs of different 
 colors are placed in the pochette on the left side.
 
 trrfcf?6 wttb "fcanD^^ercblcts 67 
 
 A fifth handkerchief, also prepared with a piece 
 of cork, is placed in the front of the vest, the 
 cork protruding through the watch-chain hole. 
 It may seem impossible, but the silk may be 
 drawn through this hole very rapidly, and quite 
 easily, as will be found by experiment. A sixth 
 handkerchief is contained in the false finger 
 (previously described), Avhich should be placed in 
 the right hand trousers pocket. 
 
 As the handkerchiefs are produced they are 
 thrown over the back of a chair fitted with a 
 network servante (Fig. 1, page IS), behind the top 
 rail of which are suspended two vanishers of the 
 kind already described ; also the ball of six 
 duplicate handkerchiefs all tied together by the 
 corners. 
 
 The trick is worked as follows : — The white 
 handkerchief is rolled up into a small compass 
 and tied with a piece of silk just strong enough 
 to hold it. It is then placed in the hollow of the 
 arm at the elbow, the arm being bent slightly so 
 as to retain it in that position. When pulling 
 back the sleeves the performer secretly obtains 
 possession of the handkerchief, breaks the thread, 
 and develops it slowly. 
 
 Having had the handkerchief examined, and 
 while holding it by two corners, spread it over
 
 68 /Bbaglc 
 
 the knee as if drawing attention to the fact that 
 it is empty. Then, in the act of raising it, shak- 
 ing it the whole of the time, pull the two colored 
 ones through the seams, and while developing 
 these take the two from the pochette on the left 
 side. Place the white handkerchief in the left 
 hand to conceal the colored ones, and throw the 
 other two over the back of the chair. Now pro- 
 duce the two in the left hand in a similar man- 
 ner, and throw them over the chair with the two 
 already there. Then take the w^hite handker- 
 chief by two corners, and while turning it round 
 to show both sides, seize the piece of cork at the 
 buttonhole of the vest, and produce the fifth 
 handkerchief, throwing both over the back of the 
 chair. 
 
 For the production of the last handkerchief a 
 little patter is desirable. " Ladies and Gentle- 
 men, I dare say you w^ill wonder where I get 
 these handkerchiefs. The other evening I over- 
 heard two gentlemen conversing in the boxes. 
 One said to the other, ' Don't you see where he 
 gets those handkerchiefs ? They came down his 
 sleeve.' The other said, ' Oh ! no, they don't. 
 He takes them from his pockets, for I saw him.' " 
 Saying this you thrust the hands into the pockets 
 by way of illustration, and fix the finger in posi-
 
 ^rfcfts H^ftb IbanDftcrcblcts 69 
 
 tion. Then withdraw the hands, placing the 
 palms together, and continue : — " ^o\v, I wish to 
 prove to you that both of these gentlemen were 
 wrong. If the handkerchief comes down the 
 sleeve you will be sure to see it. If it comes 
 from the pocket you will also see it. My hands 
 are perfectly empty" (show hands). ''^o\v 
 watch closely and see if you can detect me." 
 You now bring the hands together, reverse the 
 finger, and shake out the handkerchief; and 
 when laying it with the others on the chair, drop 
 the finger into the servante. 
 
 To cause the disappearance of the handker- 
 chiefs proceed as follows : — Take up three of the 
 colored ones, at the same time secretly obtaining 
 one of the vanishers, and, with an up and down 
 motion of the hands work them into the ball. 
 Then pass the ball to the back of the hand, and 
 show the palms empty. 
 
 When taking up the other three handkerchiefs 
 drop the vanisher into the servante, secure the 
 other one, and proceed as before. Then take up 
 the white handkerchief, again disposing of the 
 vanisher into the servante, and securing the ball 
 of six tied together. Finally wave the white 
 handkerchief up and down, and gradually worl 
 out the colored ones, one after another.
 
 70 
 
 ISSnQic 
 
 COLOR-CHANGIISrG HANDKERCHIEFS. — The 
 
 effect of this trick, which is one of the best in 
 the whole category of sleight of hand feats, is as 
 follows : — Three white handkerchiefs are pushed 
 into a paper tube, and as they come out at the 
 opposite end they are seen to be dyed respect- 
 ively red, yellow, and green. The paper is then 
 Unrolled and torn in half, when the white hand- 
 kerchiefs are found to have vanished entirely. 
 
 To perform 
 the trick you 
 must be pro- 
 vided with a 
 piece of draw- 
 ing-paper ten 
 inches by eight 
 inches (a leaf 
 from a plain 
 drawing- book 
 will answer the 
 purpose admir- 
 ably), three 
 very fine white 
 silk handkerchiefs 
 three colored ones of the same size and texture. 
 The last of the colored handkerchiefs to ap- 
 pear at the end of the tube is prepared as fol- 
 
 Fig. 16. — Handkerchief Fitted with 
 Brass Tube 
 
 fifteen inches square, and
 
 tTrfcfts vvitb IbanOftercbiets 71 
 
 lows : — Take a piece of one and one quarter 
 inches brass tubing, three inches long, and insert 
 it in the middle of one side of the handkerchief 
 (Fig. 16), by covering it with a piece of silk of 
 the same color. This piece of silk is extended be- 
 yond the tube, as shown, to form a kind of pocket. 
 
 To prepare for the trick push the body of the 
 handkerchief into the brass tube at the end a, and 
 the other two colored ones on the top of it. The 
 piece of paper is laid on the table with the tube 
 of handkerchiefs under its rear edge. The three 
 white handkerchiefs are then laid across the paper. 
 
 To perform the trick stand on the left of your 
 table and take up the paper with the right hand, 
 the left hand keeping the white handkerchiefs in 
 front of the tube of colored ones. Draw atten- 
 tion to the fact that the paper is unprepared, then 
 lay it on the table in such a manner that it again 
 conceals the tube, and take up the white hand- 
 kerchiefs. Show the handkerchiefs, remarking 
 that they are of the ordinary description, and 
 then lay them on the table. Pick up the paper, 
 and with it the colored handkerchiefs, which are 
 held behind it with the thumb of the right hand. 
 
 You now form the paper into a tube round the 
 colored handkerchiefs and hold it in the left 
 hand. Pick up the white handkerchiefs one at a
 
 72 ^aa(c 
 
 time, place them in the left hand with the tube, 
 and remark : — " I will now pass the white hand- 
 kerchiefs through the cylinder, first, however, 
 showing you that it is perfectly empty." As you 
 say this you take the handkerchiefs in the right 
 hand, and as if to illustrate what you say, place 
 them near the mouth of the tube. This gives 
 you the opportunity of dropping the colored 
 handkerchiefs into the white ones. The cylinder 
 is now shown empty, and the white handkerchiefs 
 are pushed into one end of it ; care being taken 
 to introduce the colored ones first, and to keep 
 them out of sight of the audience. You now 
 grasp the brass tube tightly through the paper 
 and press the white handkerchiefs into it. This, 
 of course, pushes out the colored handkerchiefs, 
 which appear at the other end of the cylinder, 
 the white ones being concealed in the body of the 
 last colored one. 
 
 When performing the trick it is necessary to 
 be careful to insert the right end of the brass 
 tube into the paper cylinder, otherwise the experi- 
 ment would not be successful. 
 
 The following is the method of presenting the 
 above trick, with appropriate " patter " : 
 
 "For the purpose of my next experiment I 
 shall make use of this square-looking piece of
 
 Crlcf^s witb Iban^ftercbfets 73 
 
 paper, in which you can see there is nothing con- 
 cealed, not even a trap-door. Well, if there was 
 anything concealed from your view, you would 
 be sure to see it." Laying the paper down and 
 taking up the handkerchiefs, you continue, " In 
 addition to the paper, I propose to make use of 
 these three pieces of silk, or silk in pieces, com- 
 monly known as art white squares. I am afraid, 
 however, some people would prefer to call them 
 subdued white ; possibly dirty white, if it were 
 not for the liberty of the thing, but I know they 
 call them art white in the stores, because I sup- 
 pose they find they sell better." 
 
 Laying the handkerchiefs down, you take up the 
 paper with the tube behind it, and, prior to form- 
 ing the cylinder, remark : — " This experiment 
 was suggested to me while in England traveling 
 on the underground railway. I always travel by 
 that line when possible, being fond of scenery. 
 One day I had occasion to take a return single 
 from Portland Road to King's Cross ; and while 
 passing through those tunnels I noticed that my 
 linen changed color considerably, w^hich sug- 
 gested to me this illustration. With the piece of 
 paper I will form a kind of tube or tunnel to rep- 
 resent for the time being one of those cavities on 
 the underground railway."
 
 74 /Bbagfc 
 
 Make the tube and continue : — " There it is, as 
 free from deception as I am. I will now take the 
 handkerchiefs " (take up the handkerchiefs from 
 the table) "and pass them through the cylinder" 
 ulrop the colored handkerchiefs into the white 
 ones and show the tube empty), " first, however, 
 showing you that it is perfectly empty. Then, 
 having satisfied you that there are no trains on 
 the line, I will pass the handkerchiefs through 
 the tunnel." 
 
 As the colored handkerchiefs appear at the op- 
 posite end of the tube, remark : — " I may say that 
 I have been getting my living for some considera- 
 ble time by conjuring. You will now notice that 
 I am beginning to dye by it." 
 
 Mechanical "Pull" foe Vanishing a 
 Handkerchief. — The construction of this con- 
 trivance is very simple, and it is absolutely in- 
 stantaneous in its action, the quickest eye being 
 unable, even at close quarters, to detect the flight 
 of the handkerchief. 
 
 It consists of two straps, one for each arm, 
 which are buckled on just above the elbows. One 
 of the straps carries what is known to mechanics 
 as a " lazy " pulley, working freely in all direc- 
 tions, and provided with a shield, so that the
 
 Zxic\{5 witb IbanOftcrcbtets 
 
 75 
 
 cord cannot possibly leave the wheel ; and the 
 other carries a metal " D " loop. A cord is tied 
 to the " D " loop, passed over the back, round the 
 pulley on the left arm, back again and down the 
 right sleeve ; the end of the cord being furnished 
 with a loop to receive a handkerchief. The ap- 
 paratus must be attached to the arms underneath 
 
 Fig. 17. — Mechanical "Pull" for Vanishing Handkerchief — 
 (a) Leather Strap; (b) Brass Plate; (c) Pivot; (d) Brass 
 Hinge ; (e) Pulley in Shield ; (l) Left Arm ; (r) Right Arm 
 
 the shirt, and when in such a position that the 
 arms may be moved about freely, the loop should 
 be in the centre of the back, as shown in Fig. IT. 
 To enable the artist to obtain possession of this 
 loop, a black thread is passed through it, doubled 
 and carried down the right sleeve, the two ends
 
 76 IKsnQic 
 
 hanging out of the cuff so as to be readily found 
 by the fingers. Having found the thread, the 
 performer pulls it down until the loop appears, 
 which is forthwith passed round the thumb, the 
 thread being broken and allowed to fall on the 
 floor. The act of pulling the cord to secure the 
 loop will pull the elbows close to the sides, where 
 they must be kept until the handkerchief is to dis- 
 appear. 
 
 Having placed the handkerchief through the 
 loop, which should be of catgut, being semi-trans- 
 parent, push it into the glass tube as described in 
 the next trick, and place the hands one over each 
 end. To cause the handkerchief to disappear all 
 that is necessary is to move the elbows away 
 from the sides while making a quick up and down 
 motion with the glass cylinder, slightly lifting 
 the base of the right hand from the edge of the 
 glass to allow the silk to pass up the sleeve. In 
 moving the elbows away from the sides a pull of 
 from three feet to four feet is put on the cord, 
 the handkerchief flying up the sleeve and finally 
 occupying a position in the centre of the perform- 
 er's back. 
 
 The Flying Handkerchief. — This is a very 
 surprising trick, and a favorite with the most
 
 Zxicl\6 witb "IbanMiercblets 77 
 
 noted prestidigitateurs. It depends chiefly for 
 its effect on the "Mechanical Pull." (Fig. 17.) 
 For its execution you must be provided with six 
 small silk handkerchiefs (two red, two yellow, and 
 two green), also two glass cylinders of. the kind 
 used for gas. 
 
 The idea of the trick is to cause a red silk 
 handkerchief placed in the centre of one of the 
 glass tubes, the ends being covered with the 
 hands, to disappear, and be found between a yel- 
 low and a green handkerchief previously tied to- 
 gether, rolled up into the shape of a ball, and 
 placed in the other cylinder. It is accomplished 
 thus : 
 
 Three of the handkerchiefs, one of each color, 
 are tied together by the corners, the red being in 
 the centre. They are then rolled up into the 
 shape of a ball so that the red one cannot be seen, 
 and thus prepared, are laid on the table behind 
 the other red handkerchief. 
 
 The performer now takes the two remaining 
 handkerchiefs, one yellow and one green, and 
 ties them together, rolling them up to look as 
 near like the duplicate ball as possible. Holding 
 this ball in the right hand, he takes up the red 
 handkerchief, and with it the ball of three. He 
 then takes the red handkerchief in his right hand,
 
 7S /BSagic 
 
 passing the ball into the left, and forthwith push- 
 ing it into the glass cylinder on the table. Under 
 cover of the red handkerchief, however, the balls 
 are exchanged and that of three is actually placed 
 in the tube. 
 
 While going for the other cylinder, which 
 should be on a table at the rear of the stage, the 
 performer has ample time to dispose of the ball 
 of two, and to get down the ''pull." When 
 introducing the cylinder remark : — " You see, 
 Ladies and Gentlemen, that the tubes are of the 
 most ordinary description and perfectly free from 
 preparation ; in fact, you can see right through 
 them. I hope you will not be able to see through 
 me quite so easily." The red handkerchief is 
 then inserted in the cylinder, being previously 
 passed through the loop, whence it is caused to 
 vanish as described. The handkerchiefs are then 
 taken from the tube on the table, unrolled and 
 shaken out ; when, by some unaccountable means, 
 the red one will appear to have tied itself between 
 the other two. 
 
 Brass Tube to Produce, Yanish, or 
 Change a Handkerchief. — This is really an 
 indispensable piece of apparatus and should be in 
 the repertoire of every wizard. It consists of a
 
 tCrichs witb 1banOkercbict9 
 
 ?9 
 
 piece of one and one-half inches of brass tubing 
 four inches long, with two caps of the same 
 metal to close the ends. A handkerchief is in- 
 serted in the tube and the caps are immediately 
 placed on ; but notwithstanding this, the hand- 
 kerchief disappears, or can be changed to another 
 of a different color. 
 
 The apparatus really consists of four pieces, 
 the tube and the two caps, with the addition of a 
 cup, one and one-half inches deep, made to fit 
 
 Fig. 18.— Brass Tube for Handkerchief Tricks 
 
 easily into either end of the tube, and provided 
 with a flange as in the magic pistol already 
 described, to enable the performer to palm it off, 
 (See Fig. IS). This cup is not provided with a 
 bottom, but is fitted with a piece of three-quarter 
 inch tape fixed at each side, in the centre of the 
 tube, in such a manner that a loop hangs down 
 flush with, and forming a bottom common to, 
 either end of the cup (as at a).
 
 80 /Bbagtc 
 
 The method employed in changing say a white 
 handkerchief for a red one being explained, the 
 other uses of the tube will be apparent. Load 
 a red handkerchief into the cup at the end A, 
 and place it under your vest, or in the right- 
 hand trousers pocket. Give the tube and caps 
 for examination, and while they are out of your 
 hands, get possession of the cup and palm it in 
 your right hand. Take back the tube with the 
 left hand, pass it into the right, and over the 
 cup ; and fit the cap to the opposite end. Turn 
 over the tube, and with the right hand apparently 
 place the white handkerchief into it (the handker- 
 chief really goes into the cup and pushes the red 
 one into the tube, reversing the tape). ]S"ow 
 place the right hand over the cup, reverse the 
 tube, and remark : — " As the cap has been on this 
 end the whole of the time, it has not been pos- 
 sible for the handkerchief to escape in that 
 direction. We will now place a cap on the 
 opposite end of the tube and we have the hand- 
 kerchief secure." Saying this, reverse the tube, 
 palming off the cup while doing so ; and while 
 holding the tube in the same hand, to hide the 
 palm, fit on the cap. Give the tube to some one 
 to hold and drop the cup into the profonde, or 
 otherwise dispose of it at the earliest opportunity.
 
 ^rtclis witb 1bm^\{cxcbict5 81 
 
 On removing the caps the handkerchief will be 
 found to have changed color. 
 
 At this point a good combination trick can be 
 worked by the use of two duplicate handkerchiefs 
 as follows : — Have a duplicate red handkerchief 
 hanofino^ over a chair, on the back of which is 
 suspended a network servante. Another dupli- 
 cate white handkerchief should be in readiness in 
 the back of a match-box for producing from the 
 flame of a candle as previously described. 
 
 When handing the gentleman the tube wiiich 
 is supposed to contain the white handkerchief, 
 you take up the red one from the back of the 
 chair, and at the same time dispose of the palmed 
 cup by dropping it into the servante. The red 
 handkerchief is now vanished by sleight of hand, 
 or can be fired from the magic pistol, and even- 
 tually found in the brass tube. 
 
 To account for the disappearance of the white 
 handkerchief you may remark : — " Oh, I dare 
 say the white handkerchief has jumped out of 
 the tube to make room for the red one. It 
 has probably found its way into the candle on 
 the table." To conclude the trick you light the 
 candle and produce the handkerchief from the 
 flame. 
 
 The tube can be used in manv wavs in com-
 
 82 m^Qic 
 
 bination with other tricks, but I -must leave these 
 to the ingenuity of the performer. 
 
 To my friend, Adrian Plate, a wonderfully 
 clever manipulator of cards and handkerchiefs, I 
 am indebted for the following new handkerchief 
 tricks, invented and performed by him, and for 
 the first time explained. 
 
 V 
 
 DiSAPPEAEiis^G Hai^dkerchief.— Obtain a 
 small red silk handkerchief, also a loose piece of 
 silk of the same color about one and one-half 
 inches square. Keep this piece at the corner of 
 the handkerchief with thumb and first finger. 
 Rub the handkerchief between both hands until 
 you have succeeded in getting it into small com- 
 pass, taking care that the small piece is at the 
 top. Retain the handkerchief in the right hand 
 and with left hand pull up the right sleeve. 
 IS'ow with right hand pull up the left sleeve, but 
 leave the handkerchief in the bend of the left 
 arm, where it will be hidden by the folds of the 
 sleeve, taking care, however, that the small piece 
 of red silk protrudes from closed right hand, de- 
 luding the spectators into the belief that the 
 handkerchief is still in your hand, — for do they 
 not see the corner of it ? Xow rub the hands 
 together and roll the piece into a small pellet,
 
 XLx{c\\6 vvitb fjanDlicrcbicfs 
 
 83 
 
 and palm it between the bend of the thumb and 
 first finger. Slap your hands together, and show 
 both sides. This is a most effective illusion, and 
 will deceive even the conjurers. 
 
 Another clever disappearing trick with a hand- 
 kerchief is the following : — Take a piece of flesh- 
 colored thread, and place it about the right hand, 
 
 Fig. 19. — For Yanishing Handkerchief 
 
 in the manner depicted in the illu^ration, (Fig. 
 19). The dotted lines represent the thread on the 
 outside of the hand. With this simple device, a 
 silk handkerchief can be apparently placed in 
 the left hand, when in reality it is stuck between 
 the loop in the right hand. The right hand can 
 be freely moved. Vanish a handkerchief in above 
 manner from the left hand, and by grabbing in
 
 84 
 
 /Ibacitc 
 
 the air with your right hand you reproduce the 
 handkerchief. 
 
 Handkerchief from Tissue Paper.— Take 
 a small bit of soft copper wire, 
 covered with cotton {e. g., a piece 
 of insulated telegraph wire), and 
 construct a clamp about the size 
 shown in the diagram, (Fig. 20). 
 A small red silk handkerchief 
 about ten 
 inches square 
 
 ^ " • ' "^ ^ compactly as 
 possible and 
 placed be- 
 tween the 
 clamps. By 
 pressing the wire the handker- 
 chief is kept securely fastened. 
 Place the fake on your table, 
 the handkerchief pointing to- 
 ward yourself, (Fig. 21). Xow 
 take a piece of white tissue 
 paper, four and one-half by seven inches, and lay 
 it over the handkerchief. This arrangement of 
 course is effected before the performance begins. 
 
 Fig. 20.— Handker 
 chief Clamp 
 
 Fig. 21.— Handker- 
 chief Trick
 
 tTrlcfta wttb tbanDl^ercblers 85 
 
 With your left hand pick up the tissue paper, 
 and with the latter the fake containing the hand- 
 kerchief. Kow take the paper in your right 
 hand, which under cover of paper secures the 
 clasp (part A of fake) between the first and 
 second fingers. The handkerchief is now on the 
 inside of the right hand, while the hand is per- 
 fectly free in its movements. Exhibit both sides 
 of the paper and smooth it out. All you have 
 to do now is to crumble the sheet of paper, work 
 out the handkerchief from the fake and insert 
 the ball of paper into wire clamp. Then show 
 the handkerchief to the audience, and drop the 
 fake into your pochette. 
 
 The Xevv' Cylinders axd IIaxdkeechief 
 Trick. — For this capital trick you must provide 
 yourself with two glass cylinders closed at one 
 end. They may be procured from conjuring 
 depots, or constructed out of lamp chimneys, by 
 cementing glass disks at the ends of the chim- 
 neys. However, the student will find it more 
 satisfactory to purchase these cylinders from 
 some reliable dealer in magical apparatus. Pref- 
 erably they should have rounded bottoms, as 
 depicted in the illustration. The effect of the 
 trick is as follows : — On your table are two cylin-
 
 86 
 
 ^agtc 
 
 ders. In front of each lies 
 
 Fig. 22.— Handkerchief Trick 
 
 the rapidity with which 
 articles sometimes change 
 places, under the influ- 
 ence of atmospheric elec- 
 tricity. Pick up the cyl- 
 inders, one in each hand, 
 and move the hands 
 quickly apart. In the 
 same moment the hand- 
 kerchiefs change places 
 like a flash of lightning, ^ig. 
 The secret of this very clever 
 
 a handkerchief, one 
 yellow, the other 
 red. Now pick up 
 the left-hand hand- 
 kerchief (yellow) 
 and place it in the 
 right-hand cylinder, 
 and the right-hand 
 handkerchief (red) 
 in the left-hand 
 cylinder, (Fig. 22). 
 Lay the cylinders 
 once more on the 
 table, and make a 
 little speech about 
 
 23.— Handkerchief Trick 
 
 illusion will become
 
 Ccicfts with "IbanDftcrcbiets 87 
 
 apparent on consulting the diagram, (Fig. 23). 
 The cylinders have little holes in the bottoms. 
 A strong silk thread is run through them and 
 looped about the handkerchiefs. A few trials 
 will have to decide the proper length of this 
 thread. The explanation of this feat is simplic- 
 ity itself, but the effect is very bewildering upon 
 an audience. It is one of Plate's cleverest tricks 
 and is performed by him with artistic finish. 
 
 The Haxdkekciiief Burxed axd Restored. 
 
 = — A clever trick is tlie " Handkerchief burned and 
 restored." It was a favorite with the late Alex- 
 ander Herrmann, who performed it in the most 
 artistic and graceful manner. It is a trick of 
 pure sleight of hand, and requires no apparatus or 
 elaborate preparation, for which reason it is to 
 be highly commended to those who delight in 
 digital experiments. Says Edwin Sachs, the euu- 
 nent English authority on legerdemain : — " If I 
 wanted to test a conjurer's abilitv, I should give 
 him this trick to perform." And yet it is made 
 lip of the simplest elements. By attention to 
 the rudiments of palming, etc., it becomes easy 
 of execution. 
 
 You commence operations by requesting the 
 loan of a ladv's handkerchief. Take care to
 
 88 /Hbaglc 
 
 borrow one that is devoid of lace, or special 
 ornamentation — in other words a plain, white 
 one. You come down among the audience and 
 extract a lemon from the hair or whiskers of 
 some gentleman, or better still from a ladj's 
 muff. Casually exhibit the lemon, holding it 
 beneath the nose of one of the spectators, re- 
 marking: — "It is a genuine lemon, as you per- 
 ceive." Borrow the handkerchief, then wheeling 
 about toss the lemon to your assistant on the 
 platform. Now request some gentleman to stand 
 up and rub the handkerchief between his hands. 
 Advance toward the stage, but suddenly wheel- 
 ing about, look at your volunteer assistant, with 
 well simulated alarm on your face. 
 
 " My dear sir," you remark, '' what are you 
 doing to that handkerchief ? You are rubbing it 
 the wrong way. Kindly examine it." Much to 
 his surprise, he finds it in small pieces. You then 
 take the pieces, expostulating vehemently all the 
 while with the gentleman, for having spoiled 
 your trick, likewise the lady's handkerchief. The 
 more comedy you inject into this little scene, the 
 better. Finally you remark, " I will show you, 
 sir, how to restore the handkerchief." Pass the 
 pieces back to him, with the request that he rub 
 them gently from " [N'orth to South " ; w^hichever
 
 tlrlcfte wltb tjanDl^ercbfcts 89 
 
 \vay he performs the absurd movement, you cry r 
 " Here, here ! Stop that ! I said from Xorth to 
 South, and you are rubbing from East to West. 
 Let us see what you have done now." He shows 
 the results of his handiwork, but instead of the 
 pieces there is now one long strip of linen. Take 
 this from him, and observe, with a melancholy 
 air : '' It is no use trying. I see that you will 
 never make a magician. Kindly take your seat, 
 sir, and study the points of the compass, before 
 you again presume to enter the magic circle." 
 
 Offer the strip to the owner of the handkerchief, 
 saying that it is no fault of yours that it has been 
 ruined. She will naturally refuse to accept it. 
 Then remark : " Yery well, the only thing I can 
 do is to buy you a new one, next bargain-counter 
 day, but in the meantime let us see what we can 
 do with this mutilated mouchoir." Return to the 
 stage, pick up the lemon, which has been placed 
 on the table by your assistant, and announce that 
 you will shoot the strip of linen into the lemon. 
 Load it into your funnel-pistol and fire at the 
 lemon. Then cut open the fruit and take out the 
 dummy handkerchief. Start towards the lady as 
 if to return it, but stop suddenly and remark, 
 " This handkerchief smells rather strong of lemon. 
 Shall I perfume it for you, madam ? "
 
 90 /nbagic 
 
 Without waiting for an answer place the hand- 
 kerchief on a plate and pour perfume over it, but 
 accidentally put on too much. Pick it up, and 
 show it wet. Say you will dry it a little before 
 returning it. Light a candle, and while holding 
 the handkerchief over the flame it ignites. Drop 
 it on the plate and offer it to the owner. Of 
 course she will refuse to accept it. Smother the 
 fire and again offer the burned remnants to the 
 lady, making all sorts of excuses for the accident. 
 As she again rejects your offer, say that you will 
 put the ashes in a paper for her. Lay the plate 
 on the stage, and go to your table for a piece of 
 newspaper. In the meantime your assistant cre- 
 ates a small diversion by endeavoring to pick up 
 the hot plate and place it on the table. Several 
 times he burns (or pretends to burn) his fingers, 
 dropping the plate, but finally succeeds. By this 
 time you have come forward with the piece of 
 newspaper. KoU up the ashes in the paper, and 
 remark, "Here, madam, is what is left of your 
 handkerchief. I present it to you as a small 
 souvenir of the entertainment. AYhat, you won't 
 receive it ? Tear open the paper and take out 
 the handkerchief fully restored. Present it to 
 the lady with your best compliments, and you 
 will be greeted with applause.
 
 ZTrlcfts witb 1&an^??ercbiet3 91 
 
 The following is the secret of this ingenious 
 trick : 
 
 Take a lemon and prepare it by cutting a plug- 
 shaped piece out of one end. Now dig out all 
 the pulp. Stuff an old handkerchief or piece of 
 square linen into the lemon, after which replace 
 the plug and secure it with pins. Palm the lemon 
 in your right hand, holding the lapel of your 
 coat the better to conceal the fruit as you come 
 down among the audience. Under the waist- 
 band of your vest, on the left side, you have 
 secreted a bundle of about a dozen pieces of white 
 muslin — say, three inches square — and on the 
 right side a strip of about three inches wide and 
 a yard long. On your table have a double piece 
 of newspaper, about a foot square, pasted together 
 on three sides, so that it forms a sort of bag, but 
 appears like a single thickness. Also have on 
 the table tw^o plates, a magic pistol, a perfume 
 bottle filled ^vith alcohol, a candle and a candle- 
 stick. After producing the lemon from the gen- 
 tleman's whiskers, take the lady's handkerchief 
 in the left hand. As you turn toward the stage 
 to throw the lemon tuck the handkerchief under 
 your vest in the middle and pull out the pieces 
 and long strip from under the vest. Give the pieces 
 to the gentleman ^vho is to assist you, but retain
 
 92 ^afllc 
 
 the slip. A judicious use of the wancl will ena- 
 ble you to better conceal the palmed linen, and 
 to effect the several changes in an indetectible 
 manner. While explaining to the gentleman how 
 to restore the handkerchief, substitute the pieces 
 for the long strip and give him that to hold. 
 Get rid of the pieces in your profonde. All is 
 now plain sailing until you arrive at the incident 
 of the newspaper. While your assistant is work- 
 ing with the supposedly hot plate, you will have 
 ample opportunity for stuflSng the original hand- 
 kerchief into the paper bag, smoothing it out as 
 flat as you can. Wrap up the ashes, and finally 
 tear open the paper through the outer thickness. 
 The ashes will be concealed by the inner cover. 
 Crumple up the paper and throw it carelessly on 
 the stage. 
 
 Some performers go behind the scenes to ob- 
 tain the paper, and effect the concealment of the 
 original handkerchief, but this is unnecessary, 
 besides it detracts from the effect of the experi- 
 ment. The diversion created by your assistant 
 with the hot plate will afford you ample oppor- 
 tunity to get the handkerchief into the paper.
 
 CHAPTER Y 
 tricks with balls 
 
 Creatio:n', Maxipulatiox, Multiplica- 
 tion, AND Annihilation of Billiaed Balls. 
 — For the series of tricks hereafter described, 
 you will require two solid billiard balls, and a 
 case to contain one of the balls, consisting of two 
 hemispheres of thin spun brass hinged together. 
 When closed this case will represent a solid ball, 
 but when open and held in the hand with the 
 thumb over the hinge, will appear as two balls. 
 The balls, together with the case, should be 
 enameled red. When about to present the 
 trick, come forward with the case containing a 
 solid ball in the left breast pocket, and the other 
 solid ball under the left armpit. 
 
 Creation. — Pull up the right sleeve and then 
 the left one, which gives you the opportunity of 
 taking the ball in the right hand unperceived. 
 You now execute what is known as the " Change- 
 over Palm " to show both hands empty, and then 
 produce the ball from the back of the right hand. 
 
 93
 
 94 
 
 /Iftacjlc 
 
 This palm is made as follows : Having gotten the 
 ball into the right hand draw attention to the 
 left with the fingers of the right, showing it 
 back and front. When doing this you will be 
 standing with your right side toward the audi- 
 ence. Now make a sharp half turn to the right 
 and show the right hand in the same manner. 
 This you will be able to do, as when making the 
 turn the palms of the hands very naturally 
 
 FiG. 24.— Revolving Ball 
 
 pass over each other, and the ball is trans- 
 ferred from the palm of the right hand to that 
 of the left. 
 
 The ball is now found on the back of the right 
 hand. 
 
 Manipulation. — The amount of manipulation 
 possible with a single ball is considerable, and 
 limited only by the dexterity of the performer.
 
 tlrlcfts witb :©all6 
 
 95 
 
 The principles of sleight of hand as described in 
 Chapter II. will, with few exceptions, be found 
 equally adaptable to this branch of the mystic art. 
 For the benefit, however, of those of my readers 
 who have not hitherto made sleight of hand a 
 study, I append a few examples. 
 
 1. Having: obtained the ball from the back 
 of the right hand, 
 place it between 
 the two forefin- 
 gers, (Fig. 2i). 
 Then twist the 
 fingers round and 
 round, which will 
 cause the ball to 
 revolve with them. 
 This produces a 
 very pleasing and 
 puzzling effect, and is to all appearance a feat of dex^ 
 terity. It requires, however, very little practice. 
 
 2. Close the right hand and place the ball 
 on the top, (Fig. 25). From this position appear 
 to take it in the left hand, really allowing it 
 to sink down into the palm of the right, where 
 it is retained. Vanish the ball from the left 
 hand in the usual manner, and produce it from 
 the left elbow. 
 
 Fig. 25. — Ball in Position on 
 Right Hand
 
 96 /DSaflfC 
 
 3. Eoll the ball between the palms of the 
 hands as if you were trying to make it smaller. 
 When the left hand is underneath, seem to close 
 it over the ball, really palming it in the right 
 hand. The left hand is now brought down 
 rather smartly on the back of the head, and the 
 ball produced from the mouth. 
 
 4. Place the ball between the teeth and, ap- 
 parently, give it a smart rap with the right hand 
 as if to force it into the mouth. The ball, how- 
 ever, is palmed in the right hand, and immedi- 
 ately taken from the back of the head. When 
 producing the ball, pass it up the back and over 
 the top of the head, and let it fall into the left 
 hand. 
 
 5. Appear to take the ball from the left hand, 
 as in " Le Tourniquet " with a coin. Then ap- 
 parently pass it through the left knee, produc- 
 ing it from underneath. 
 
 6. Throw the ball several times from one hand 
 to the other, and finally, when appearing to 
 throw it into the right hand, palm it in the left. 
 Vanish the ball ; place the left hand to the nose ; 
 and let the ball fall into the right hand. To all 
 appearances it actually comes from the nose. 
 
 7. Stand with the left side to the audience, and 
 throw the ball into the air several times. At the
 
 ZTrfcfts witb 3iSall6 97 
 
 third time palm it in the left hand ; the effect 
 being that the ball is vanished into thin air. 
 Xow perform the" Change-over Palm," described 
 above, and find the ball at the back of the right 
 knee. 
 
 8. Apparently transfer the ball from the right 
 hand to the left, really palming it. Place the 
 palm of the right hand (containing the ball) on 
 the right breast, and thence extend it over in the 
 direction of the left sleeve. In the act of doing 
 this, the ball leaves the palm and is held between 
 the forearm and the body ; the hand, turned 
 palm toward the audience, then pulls up the 
 sleeve. You then blow on the left hand to 
 vanish the ball, and show the hand empty. 
 
 To regain possession of the ball, all that is 
 necessary is to reverse the motion of the arm, 
 when the ball will find its way into the palm of 
 the hand, and can be produced as fancy suggests. 
 
 If the ball is not produced, the above forms an 
 excellent final vanish to any billiard-ball trick. 
 
 If used as a vanish, after having regained pos- 
 session of the ball, you stand with the hands one 
 on each lappet of the coat, bow, and retire. 
 
 This pass, which I have found practical in 
 every way, was given to me by Mr. George New- 
 man, a very clever amateur conjurer.
 
 98 ^agic 
 
 The following explanations will to some extent 
 be given in the " vernacular," it being assumed 
 that the student has become familiar wdth the 
 various passes. 
 
 Multiplication. — You must now obtain pos- 
 session of the trick ball, which can be done by 
 means of the folloAving ruse. Appear to place 
 the ball in the left hand, vanish, and take it from 
 the left breast pocket. In doing so you take out 
 the trick ball, leaving the solid one behind. 
 
 For two balls. — Take the trick ball in the left 
 hand, and, waving the hand up and down, open 
 the shell, placing the thumb over the joint, when 
 you will appear to have two balls in the left 
 hand. To show these as two solid balls, one in 
 each hand, take the ball out of the case, which 
 forthwith close. This can easily be done under 
 cover of the right hand. Draw attention to the 
 ball in the left hand, and remark, " One, and this 
 one " (ball in right hand) " make two." As you 
 say this you appear to place the ball in the left 
 hand, really opening the case to represent two 
 balls, and palming the solid one in the right 
 hand. 
 
 For three balls. — Produce the ball you have 
 palmed from behind the left knee, and really
 
 G:rlcft6 witb :©all5 99 
 
 place it with the two others (case open) in the 
 left hand. Wave the left hand up and down, 
 and under cover of the movement allow the solid 
 ball to slip into the case. Then produce the ball 
 previously left in the breast pocket, and you will 
 seem to have passed a ball up your sleeve. 
 
 For four balls. — Draw attention to the two 
 balls now in the left band (case open, with a 
 solid ball in one half) and remark, "Two, and 
 this one " (ball in right hand) " make three." 
 Saying which, you apparently place the ball in 
 the left hand, really palming it as before, and 
 dropping the ball out of the case under the cover 
 of the right hand. You now find the palmed 
 ball at the left elbow, and really place it with 
 the other three in the left hand. You will now 
 appear to hold four solid balls. 
 
 Anis-ihilatioit.— Appear to take a ball in the 
 right hand, really allowing one to fall into the 
 case. Vanish this ball in the act of throwing it 
 to the audience. You now actually take another 
 solid ball in the right hand and exclaim, " I will 
 vanish this one into thin air. Watch me." Actu- 
 ally throw the ball into the air several times, and 
 while doing this lower the left hand, and drop 
 the solid ball out of the case into the profonde,
 
 100 mtiQic 
 
 making a movement that the audience cannot 
 fail to notice. Thinking they have caught you, 
 some one is sure to remark, " I saw him put one 
 in his pocket that time." To which you will re- 
 ply, " Oh, no, I did not put any in my pocket. I 
 would not deceive you in such a manner. Two 
 and one " (the one in the right hand) " make 
 three." You now really place the ball in the 
 left hand. 
 
 Again appear to take a ball in the right hand, 
 letting it fall into the case as before. Then van- 
 ish it in the act of apparently throwing it into 
 the air. Wave the left hand up and down, and 
 under cover of the movement close the case, 
 which will dispose of the third ball. 
 
 Finall}", make believe to take this last ball in 
 the right hand, standing with your right side to 
 the spectators. Instead of doing this, however, 
 the case is opened, under cover of the right hand, 
 and the solid ball extracted. The right hand is 
 then closed over the ball so that it cannot be 
 seen, and the left hand quietly places the case in 
 the profonde. It is well to again let this move- 
 ment be suspected. Then, looking at the right 
 hand, remark : " I have now only to dispose of 
 this last ball." At this point some one is almost 
 sure to say, " Oh ! but I saw you put it in your
 
 Zv\c}{e witb 3BaU0 loi 
 
 pocket." You will then cause considerable 
 amusement to the spectators, and bring derision 
 on the party with the voice, by showing the ball 
 in the right hand. 
 
 To cause the disappearance of the last ball 
 make use of the pass described under Example 
 8 (p. 97). 
 
 Billiard Balls and Basins. — For the pur- 
 pose of this trick you will require two small 
 basins and two tea plates. The plates are to act 
 as covers for the basins. In addition to these 
 paraphernalia you will require two india-rubber 
 balls to match in size and color the ordinary 
 billiard balls. 
 
 The effect of the illusion is as follows : — The 
 two basins are shown empty, and each is covered 
 with a plate. In the course of the preceding 
 billiard-ball trick, or a portion of the same, two 
 balls are vanished, afterward appearing in the 
 basins. 
 
 To prepare for the trick, place one of the 
 basins, containing one of the balls, on the table, 
 and cover it with one of the plates. On the top 
 of this plate place the other basin, containing the 
 second ball, covering the same with the remain- 
 ing plate.
 
 102 flbagfc 
 
 When about to present the illusion, you take 
 the top plate in the left hand, and the basin in 
 the right, fingers inside and thumb out. This 
 enables you to grasp the ball, and conceal it in 
 the fingers, while holding the basin so that the 
 inside can be inspected. Place the basin on the 
 floor, retaining the ball in the fingers, and im- 
 mediately take the plate in the right hand, which 
 again conceals the balL Show the left hand 
 empty, also both sides of the plate. Then pass 
 the plate back into the left hand, taking the ball 
 with it, and show both sides of the right hand. 
 Cover the basin wath the plate and in doing so 
 secretly introduce the ball. 
 
 You must now go through the same move- 
 ments with the other plate, ball, and basin, and 
 the trick is practically finished. All that re- 
 mains for you to do now is to vanish two balls 
 and find them in the basins. 
 
 The india-rubber balls are essential for silence 
 when dropped into the basin. Ordinary w^ooden 
 balls would rattle and thus betray their presence. 
 
 Color-Changing Billiard Balls. — There 
 is a very old trick similar to what I am about to 
 describe, known as the " Chameleon Balls." In 
 this form of the trick the ball is caused to change
 
 ^Tlcfts witb JBalls 103 
 
 by palming on, or off, as occasion may require, 
 half shells of different colors. I will now ex- 
 plain a method of producing a result analogous 
 to the old trick, but brought about by entirely 
 different means. 
 
 The necessary accessories are a red, a black, 
 and a white billiard ball, all solid. Place the 
 w^hiteball in the profonde, and the black one in the 
 pochette, on the left side. Having arrived at the 
 point in Annihilation (p. 100) where all the balls 
 have been disposed of with the exception of the 
 last solid one, you throw this in the air as if to 
 vanish it in that direction. While all eyes fol- 
 low the ball in its upward flight you lower the 
 left hand and take the white ball from the pro- 
 fonde, palming it. In doing this you would of 
 course stand with the right side to the audience. 
 
 The Chaxge to White. — Make a half turn to 
 the right and take the red ball in the fingers of 
 the left hand, in which you have the white ball 
 palmed. Then show the right hand back and 
 front. Xow take the visible red ball in the 
 fingers of the right hand, and, at the same in- 
 stant, make the " Change-over Palm." This 
 brings your right side again to the auditorium 
 and enables you to show the left hand empty.
 
 104 ISStiQiC 
 
 To execute the change you place the red ball 
 in the fingers of the left hand, and then stroke it 
 with the palm of the right ; palming the red ball 
 and leaving in place of it the white one. Again 
 make the " Change-over Palm " showing the 
 hands empty, with the exception of the white 
 ball. 
 
 The Change to Black. — You take the ball in 
 the right hand, and turning to the left bring it 
 down rather smartly oh the table, to prove its 
 solidity. This gives 3^ou the opportunity of 
 dropping the red ball into the profonde and tak- 
 ing the black one from the pochette. 
 
 To change the white ball to black you will 
 proceed as in the previous change, disposing of 
 the palmed white ball at the earliest opportunity, 
 or it can be produced with good effect from the 
 bottom of the trousers. Then lay both balls 
 down on the table. 
 
 To appreciate and thoroughl}^ understand the 
 effect of the above, it is necessary to actually 
 practice the various movements with the balls in 
 front of a mirror. 
 
 The Diminishing Billiard Balls. — The 
 trick under notice has for its effect the apparent
 
 Zxic^e vvitb :©all5 
 
 105 
 
 diminution of an ordinary billiard ball, first to 
 half its original size, secondly to one-quarter its 
 original size, and finally to a very small ball, with 
 which several amusing passes are made, and 
 Avhich afterward disappears entirely. 
 
 In this case a trick ball is used of a size equal 
 to half that of the ordinary one, and hollowed 
 out so as to contain a solid 
 ball of a diameter equal to 
 half that of itself, (Fig. 26). 
 The hollow ball must be so 
 constructed that the small 
 one pinches slightly into it, 
 but can be instantly released 
 by simply passing the ball of 
 the thumb over it. A dupli- 
 cate of this small ball should 
 be placed in the right hand waistcoat pocket for 
 use in the latter part of the trick. 
 
 The trick ball is placed in the left pochette, 
 whence it is obtained and used according to the 
 instructions given in the " Color-changing Balls." 
 To produce the smallest size, hold the trick ball 
 in the left hand, having previously loosened the 
 small one, and in the act of stroking it with the 
 right hand, palm off the hollow ball, and dispose 
 of it as soon as possible. 
 
 F\^. 26.— Trick Balls
 
 106 /IRagfc 
 
 With the small ball you now execute the pass 
 as described under Example 4 on p. 96. Then 
 actually place the ball in the mouth, pretend to 
 swallow it, and produce the one from the vest 
 i)ocket, which will appear to be the same. 
 
 You DOW seem to place the ball in the left 
 liand, really palming it ; then bring the left 
 band down with apparent force on the top of the 
 head, showing the ball between the teeth. Here 
 raise the right hand as if to take the ball from 
 the mouth, but really push it back and show the 
 palmed one. Then repeat the same pass, but this 
 time actually let the ball fali from the mouth 
 into the left hand, the right disposing of the 
 palmed ball into the profonde. 
 
 I have seen a series of passes, including the 
 above, performed with two eggs in place of the 
 small balls, but unless the performer be endowed 
 with a colossal cavity between the upper and 
 lower jaws, I should not advise him to attempt 
 this. 
 
 The Handkerchief Ball. — This forms a 
 very good introduction to a billiard ball trick, all 
 that is required being a ball of the usual size, 
 hollowed out so as to take a handkerchief, with 
 an opening one inch in diameter on the surface.
 
 ^ricfts wftb J5all6 107 
 
 This ball is suspended behind the top rail of a 
 chair bj means of a pin. 
 
 After performing any trick in which a hand- 
 kerchief has been employed, carelessly throw it 
 over the back of the chair while you roll up 
 your sleeves. If you do not care to roll up the 
 sleeves, perform any small trick before proceed- 
 ing with the present one, otherwise it might be 
 too palpable that the handkerchief was thrown 
 over the chair for a purpose. Then take up the 
 handkerchief (secretly securing the ball) and 
 gradually work it into the ball, being careful to 
 keep the ball out of sight as much as possible 
 until the handkerchief has totally disappeared. 
 Finally throw the ball into the air, which can 
 safely be done providing it and the handkerchief 
 are both of the same color, which would not 
 admit of the hole being observed. 
 
 At this point, should you desire to proceed with 
 a billiard ball trick, you can do so by changing 
 the hollow ball for a solid one in the same man- 
 ner that you changed the solid ball for the trick 
 one in the " Multiplying Billiard Balls." 
 
 The Dissolvixg Billiard Ball. — This 
 forms an excellent conclusion to a billiard ball 
 trick. A glass tumbler three parts filled with
 
 108 lH^nQic 
 
 water is given to a gentleman to hold. A ball 
 is then covered with a handkerchief and given 
 to the gentleman with a request that he will 
 hold it over the glass and at the word " three " 
 will allow it to fall into the water. This is 
 done, and upon the handkerchief being removed 
 from the tumbler, nothing remains but the fluid, 
 which is perfectly transparent, the ball having 
 apparently been dissolved therein. 
 
 The secret of this lies in the fact that the per- 
 former is provided with a half shell of clear glass. 
 This shell is secretly slipped over the ball in the 
 act of covering it with the handkerchief, and 
 when handing it to the gentleman the solid ball 
 is palmed away by the performer. The gentle- 
 man is not at all likely to discover that he holds 
 only a half ball, as, being hampered with the glass 
 of water, he is effectually prevented from mak- 
 ing an examination. 
 
 It is well to be provided with a tumbler the 
 bottom of which is shaped somewhat to fit the 
 form of the shell, and ornamented slightly, but 
 this latter feature is not absolutely necessary. 
 
 Fancy Sleight with a Small Ball. — A 
 small ball is generally used for this pass, but it is 
 applicable to any object that can be conveniently
 
 trrfcks vvitb JSalls 109 
 
 placed in the mouth. In effect it is as follows : 
 A ball, for instance, is rubbed into the left elbow 
 and passed thence up into the hand. The hand 
 is then brought down rather smartly on the back 
 of the head, the ball being immediately after- 
 ward taken from the mouth. 
 
 The sleight is thus executed r The performer 
 takes the ball in his right hand and commences 
 to rub it into his left elbow. At this point he 
 apparently meets with an accident, dropping the 
 ball on the floor. The dropping of the ball, 
 however, apart from being an accident, is abso- 
 lutely essential to the success of the illusion. 
 After having picked up the ball and while still 
 in a stooping position with his back toward the 
 spectators, the performer quickly throws it into 
 his mouth, immediately facing round and draw- 
 ing attention to the right hand the fingers of 
 which must seem to close round the object. The 
 rubbing at the elbow is again commenced and the 
 right hand eventually shown empty. The per- 
 former then makes a sign indicative that the ball 
 has passed up into the left hand, which is then 
 brought down with apparent force on the back of 
 the head. The ball in the mouth is then revealed, 
 when it will appear to have actually traveled to 
 that position.
 
 110 /IRagic 
 
 This sleight can very well be introduced Jit the 
 close of the Diminishing Billiard Balls. 
 
 I am indebted to Mr. Eoss Conjears, an exceed- 
 ingly dexterous magician, for the above. 
 
 EouGE ET E^oiR. — This pretty trick consists of 
 causing two balls, one red and one black, wrapped 
 in pieces of paper and placed in borrowed hats, 
 to change places at command. The diameter of 
 the balls should be four and one-half inches. 
 
 The solution of the problem lies in the con- 
 struction of the papers with which the balls are 
 covered. They are arranged thus : Take two 
 pieces of newspaper and paste them together all 
 round the edges, having previously inserted be- 
 tween them a layer of red glazed paper of the 
 same shade as the ball. The other one is pre- 
 pared in exactly the same vvay, but contains a 
 layer of black glazed paper to represent the black 
 ball. 
 
 The two balls are now wrapped in the papers, 
 care being taken to cover the red ball with the 
 paper containing the black layer, and vice versa. 
 After this has been done the performer feigns a 
 slip, mixing up the packages, and thereby con- 
 fusing the audience as to the relative positions of 
 the balls. As if to satisfy them on this point he
 
 Urfcfts wltb :fi3all6 in 
 
 tears a small hole in the outer covering of one of 
 the parcels, exposing sav the layer of black 
 paper. The parcel is then placed in the hat on 
 the supposition that it contains the black ball. 
 
 The other package is now treated in the same 
 manner, after which the supposed transposition 
 of the balls will be easily understood. 
 
 Ball, Handkerchief, axd Tumbler. — This 
 is a very good combination trick, and as such will 
 serve as an example for the arrangement of 
 others. A billiard ball is placed in a small 
 tumbler, which is in turn wrapped in a piece of 
 newspaper and deposited in a borrowed hat. 
 The performer then takes a small silk handker- 
 chief and rolls it up in his hands, when it is seen 
 to have become transformed into a billiard ball. 
 The glass is then taken from the hat, and, on the 
 paper being removed, is found to contain the 
 handkerchief. The ball, handkerchief, and 
 tumbler, together with the piece of paper, are 
 then caused to vanish, one at a time, from the 
 hands of the performer, who immediately after- 
 ward produces them from the hat. 
 
 The modus operandi is as follows : — A duplicate 
 tumbler containing a handkerchief, and wrapped 
 in paper, must be secretly introduced into the hat
 
 112 /IRagfc 
 
 prior to the commencement of the trick. (See Hat 
 Tricks.) The tumbler containing the ball and 
 wrapped in paper is then placed in the hat. The 
 performer now takes up a duplicate handkerchief, 
 and under cover of the same the hollow ball al- 
 ready described. The handkerchief is worked 
 into the ball, which is shown in due course, and 
 laid on the table, opening downward. The 
 duplicate tumbler is then removed from the hat, 
 and found to contain the handkerchief. These 
 articles, including the piece of paper, are then 
 laid on the table by the side of the ball. 
 
 The performer now goes to the hat, and, un- 
 der pretense of moving it further away, turns it 
 over, thus proving, in conjurer's logic, that it is 
 empty. This can easily be done by taking the 
 hat fingers inside and thumb out, the fingers be- 
 ing inserted in the top of the tumbler. The per- 
 former then returns to the table and proceeds to 
 dispose of the articles thereon. 
 
 The piece of paper rolled up, and the ball, are 
 caused to vanish by any of the means already 
 explained. To cause the disappearance of the 
 glass you must be provided with a handkerchief, 
 silk by preference, consisting of two handker- 
 chiefs sewn together round the edges, in the cen- 
 tre of which is fixed a disk of cardboard of the
 
 ^rfcfte witb :fi5aU6 113 
 
 same size as the top of the tumbler. The tum- 
 bler being covered with this handkerchief, the 
 performer, as if to satisfy the spectators that it 
 is still there, strikes it several times on the back 
 of a chair, and under cover of the movement 
 allows the glass to fall into the network servante. 
 The handkerchief, however, owing to the pres- 
 ence of the disk, still appears to contain the 
 glass, the ultimate disposal of which will now be 
 readily understood. 
 
 In conclusion, the performer takes the hand- 
 kerchief lying on the table and vanishes it by 
 palming in the ordinary way ; the right hand 
 being immediately dived into the hat and the 
 handkerchief produced. The other articles should 
 be removed one at a time, not forgetting to 
 crumple the paper into a ball before taking it 
 out.
 
 CHAPTEE YI 
 
 HAT TEICKS 
 
 The uses to which that piece of headgear, the 
 much abused silk hat, lends itself in "I'art 
 magique" are almost innumerable. The chief, 
 however, and the one immediately under consid- 
 eration, is the production therefrom of a host of 
 heterogeneous articles, of which the following 
 list will give an idea : 
 
 Fifty yards of sash ribhon^ eight inches wide. — 
 The ribbon should be folded over and over, in 
 large pleats, so that it can be readily taken from 
 the hat. 
 
 Two dozen fancy cardhoard hoxes^ three and 
 three fourth inches hy two and one-half inches by 
 two and one-half inches. — These are made to fold 
 flat, the size of the parcel when ready for intro- 
 duction being five inches by three and three- 
 fourth inches by one and one-half inches. 
 
 Two hundred flowers^ known as sjyring flowers. 
 — Each flower when closed is very little thicker 
 than brown paper, but immediately on being re- 
 114
 
 Ibat tTricfta lis 
 
 leased expands to the size of a full-brown tulip. 
 One hundred of these flowers, w^hen closed, can 
 easily be hidden in the hand. 
 
 A string of sausages. — These, it is hardly 
 necessary to remark, are imitation, being made 
 in silk of the required color. 
 
 A hundle of wood. — This is made hollow, con- 
 sisting of a cardboard case with pieces of wood 
 glued on the outside and on one end, the other 
 being left open. It is usually filled with baby 
 linen, together with a feeding-bottle containing 
 milk. 
 
 One hundred yards of narroio^ colored ribbon. 
 — This is made in coils, machine rolled, similar 
 to that used for telegraph purposes. A coil of 
 this ribbon can very well be placed in the bottom 
 of the sham bundle of ^vood. When producing 
 the coil it should be unrolled from the centre. 
 
 Four pound iceight of playing cards. — These 
 make a tremendous show when strewn about the 
 stage. A good plan, also, is to have a number 
 joined together in a long string by means of cotton. 
 
 A cannon hall. — This is usually made in zinc, 
 five inches in diameter, hollow, and provided 
 with a sliding lid. It can be filled with various 
 soft goods, such as handkerchiefs, ribbons, etc., 
 also sweets and bonbons for distribution.
 
 116 ^aflic 
 
 A solid wooden cannon hall. — This should have 
 a three-quarter inch hole, two inches deep, bored 
 in it toward the centre, for facility in introduc- 
 ing it into the hat. 
 
 A harher'^ s jpole^ about thirty feet long and four 
 inches to five inches thick at the hase. — This is 
 made with stout colored paper, and pulls out 
 from the centre. If the pole be constructed of 
 red, white, and blue paper the performer, when 
 introducing the trick, may announce that he is 
 about to erect the American Colors at the North 
 Pole. 
 
 A howl of gold fish. — This really consists of 
 two bowls, one within the 
 other. The space between 
 the two contains the water 
 and fish, which are inserted 
 through a hole in the bot- 
 tom of the outer bowl, 
 the latter being afterward 
 corked. The inside bowl 
 Fig. 27.— Bowl of is filled with bonbons, etc. 
 Gold Fish ^pig^ 27). The fish used are 
 
 imitation, being made from pieces of carrot cut 
 to shape. 
 
 A large cage containing a live canary. — The 
 cage, which is telescopic in action, the upper part
 
 1)at trrlcfta 117 
 
 sliding down into the lower, is nearly twice the 
 height of the hat, and when once taken out can- 
 not be put back. This is owing to the fact that 
 the seed boxes, which in their normal position 
 are on the inside, revolve on spring pivots, as the 
 cage is withdrawn, thus making it impossible to 
 return it to the hat until they are replaced. 
 
 Twenty pint tumblers^ ruby and green. — These 
 are made in celluloid and fit one in the other. 
 They are all of the same size, but being very 
 thin occupy very little more space than a single 
 one. 
 
 8ix cJiamjpagne bottles. — These are not quite so 
 substantial as they look, being merely half- 
 bottles in thin metal, japanned black, and deco- 
 rated with labels taken from the genuine article. 
 A bottle with a horizontal division in the centre, 
 the upper part containing wine, and the lower 
 part a tumbler, is generally introduced with the 
 shells. 
 
 A small rabbit. 
 
 A Chinese doll. — Obtain a doll's head, five 
 inches in diameter, from any Oriental store, and 
 drape it with a silk skirt. If a hole be cut in 
 the top of the head it can be utilized in the same 
 manner as the cannon ball. 
 
 A skull which rises spontaneously from the hat.
 
 118 ^agtc 
 
 — This is a model in papier-mache, and being 
 hollow, is very serviceable. It is caused to rise 
 from the hat by means of a black thread, which 
 is carried through a staple in the flies immediately 
 over the performer's table, thence through an- 
 other staple behind the wings, and down to the 
 assistant. 
 
 It is not my intention to give directions for 
 making these goods, as they can be bought at a 
 very small cost from any of the dealers in mag- 
 ical apparatus. I have found by experience that 
 this is the best course to pursue. Amateur work 
 is, as a rule, very commendable, but scarcely so 
 as regards conjuring, clumsy and ill-made ap- 
 paratus being absolutely useless, and conse- 
 quently dear at any price. Apart from this I 
 have another, and what I believe to be a more 
 important object in view, viz., that of giving in- 
 struction in the actual working of the trick. 
 
 It will be at once obvious to the reader that 
 the chief element in the magical production of 
 articles from a borrowed hat, is the manner in 
 which they are secretly introduced, as, should 
 this be detected, the trick would fail ignomini- 
 ously. The main secret lies in the combination 
 of the looks and gestures of the performer to 
 misdirect the audience. The articles for the
 
 1bat tTricfts 
 
 119 
 
 most part are introduced under cover of natural 
 movements, quickness being of little or no avail. 
 I will now describe one or two methods em- 
 ployed to effect this desideratum. 
 
 Loading. — Under this 
 
 heading 
 
 I shall en- 
 deavor to give the working of a hat trick as 
 actually presented to an audience, using for the 
 purpose articles selected from the preceding list. 
 The following preparations must be made : — 
 
 A small rabbit is placed in the right hand 
 profonde, and a billiard ball and a small dinner 
 plate are laid on the table. 
 
 A packet of one hundred spring flow- 
 ers, secured by a band of tissue paper, 
 must be in the hands of the assistant 
 at the right wing ; and another similar 
 packet must be placed in the profonde 
 on the left side. 
 
 The sash ribbon, folded as instructed, 
 is tied round the fancy boxes together 
 with the string of sausages, with black 
 tape. The parcel is suspended behind 
 the back of a chair by means of a pin 
 and a double loop of florist's wire 
 (Fig. 28), the tape being passed through the small 
 loop, which is then hung on the pin. This leaves 
 
 Fig. 28.— 
 
 Double 
 Wire Loop
 
 120 /IBagic 
 
 the large loop, the use of which will be noted in 
 due course, sticking up over the back of the 
 chair, where, however, it is quite invisible at a 
 few paces. 
 
 The twenty pint tumblers are wrapped up in a 
 piece of colored sash-ribbon and tied round with 
 tape to which is attached a loop of wire. Thus 
 prepared they are placed in the capacious breast 
 pocket on the left side, the loop projecting so that 
 the thumb of the right hand can be passed through 
 it and the package withdrawn. 
 
 The bundle of wood, containing the coil of 
 ribbon, baby linen, and feeding bottle, must be in 
 readiness on the servante at the back of a second 
 chair. 
 
 The skull, cannon ball, or globe of gold fish, 
 whichever the performer intends to use, is 
 located on the servante at the back of the table. 
 
 The next thing to do is to obtain the loan of a 
 hat, and having done so, it is well to perform a 
 preliminary experiment with the same. A very 
 good one is that known as 
 
 The Magnetized Hat. — The performer places 
 his hand, perfectly empty, on the crown of the 
 hat, which forthwith adheres to the palm, and in 
 this position it can be moved about and turned
 
 Dat Zxic\{5 121 
 
 over iu any direction. The finger tips are then 
 used in place of the palm with the same result. 
 Finally, a silk handkerchief is thrown over the 
 hat, and the palm of the hand placed thereon, but 
 the effect is still the same. 
 
 This seeming impossibility is accomplished 
 with the aid of the little piece of apparatus 
 illustrated in Fig. 29. It consists of a brass plate 
 fitted with 
 two bent pins 
 as shown, the 
 whole be- 
 ing painted 
 black. The 
 pins should' 
 be situated 
 
 so that by 
 -, • ji Fig. 29. — Apparatus for Magnetized Hat 
 
 two middle fingers between them the hat can be 
 raised. The working of the trick will now be 
 readily understood. The clip must be pressed 
 into the crown of the hat while returning with it 
 to the stage, the pin on the left of the figure be- 
 ing inserted first. The clip is removed, with the 
 handkerchief, in the final stage of the trick. 
 
 The ball and plate are now given for exami- 
 nation^ and while all attention is riveted on these
 
 122 /Ibagtc 
 
 two articles, ample opportunity will be found lo 
 introduce the rabbit unobserved, which should be 
 done while amongst the audience. The hat is 
 then covered with the plate, in which condition it 
 is carried back to the stage, and placed on the table. 
 
 The performer now takes the ball, and vanishes 
 it by palming ; appearing to pass it through the 
 plate into the hat. The plate is then removed, 
 and the ball taken from the hat with the right 
 hand, followed immediately by the rabbit. 
 
 The hat is now taken in the left hand, and the 
 rabbit handed to the assistant at the wings with 
 the j'ight. The assistant takes the rabbit, and at 
 the same time, under cover of the wing, gives the 
 performer the packet of flowers ; the hat being 
 immediately placed in the right hand to conceal 
 their presence. 
 
 While drawing attention to the outside of the 
 hat, the tissue paper is broken with the fingers, 
 and the flowers are released. They are then 
 shaken out slowly on to a large sheet of black 
 alpaca, which should be spread over the stage to 
 receive them. While this is being done, the pack- 
 age is obtained from the profonde, the hat being 
 changed over into the left hand, and the second 
 load thus introduced. 
 
 When the flowers have all been shaken from
 
 Dat ^ricfts 123 
 
 the hat, take it in the right hand, fingers inside 
 and thumb out, and approach the chair (this 
 should be on your right) on which is the bundle 
 of ribbons, etc. Take the top of the chair in the 
 hand holding the hat, and in doing so, push the 
 forefinger through the loop of wire. Kow move 
 the chair away a few paces, and when removing 
 the hand from the back bring away the load, 
 wliich will fall into the hat unobserved. Leave 
 the hat on the chair, and take up the alpaca con- 
 taining the flowers, putting it on one side. 
 
 Up to this point, no one will suspect that the 
 hat contains anything, as what you have done has 
 been but natural in the preparation of the stage 
 for the next trick. 
 
 The boxes are now taken from the hat and 
 placed on the table, followed by the sausages. 
 When removing the latter, some amusement may 
 be caused by referring to them as " an indefinable, 
 condimental amalgamation of membranaceous 
 disintegrations." 
 
 The ribbon is next pulled from the hat in long 
 lengths with the right hand, and when the hand 
 contains a large quantity, the thumb is slipped 
 through the wire loop attached to the tumblers 
 in the breast pocket. These are introduced when 
 inserting the hand to take out the next length of
 
 124 /IRaaic 
 
 ribbon. The introduction of tlie tumblers cannot 
 be detected, owing to the presence of the ribbon 
 in which they are wrapped. When the whole of 
 the ribbon has been extracted, it is thrown over 
 the back of the chair, behind which is the bundle 
 of wood. 
 
 The tumblers are now taken from the hat, and 
 placed on the table. 
 
 The performer then takes up the ribbon from 
 the chair, and makes an effort to return it to the 
 hat, thereby drawing attention to its great bulk, 
 and remarking, " Now, how do you suppose I am 
 going to get home with this ? Why, I shall re- 
 quire at least two cabs." 
 
 It is needless to say that under cover of the 
 ribbon the bundle of wood is introduced into the 
 hat. The baby linen, feeding bottle, and coil, 
 are now produced, and finally the wood itself. 
 It is usual when taking the ribbon from the hat 
 to spin it out on the wand. 
 
 Holding the hat by the brim, fingers inside and 
 thumb out, the performer lowers it for an instant 
 to the rear edge of the table, and by inserting 
 the middle finger of the hand into the hole in 
 the cannon ball scoops it up into the hat, which is 
 forthwith raised and placed crown downward 
 on the table.
 
 1bat ^r(cft0 125 
 
 This movement should be executed with the 
 leit hand while the right lays the bundle of wood 
 down on the table, and, if necessary, makes room 
 for the next production. 
 
 The fish bowl, or skull, would of course be 
 worked in a similar manner. 
 
 From the foregoing it will be seen that with a 
 little expenditure of ingenuity and trouble a hat 
 trick can be carried on to an almost indefinite 
 period. It should not, however, in any case ex- 
 ceed fifteen minutes. I have taken the preced- 
 ing list simply as an illustration of the way in 
 which the various movements are combined to 
 appear natural and thus avoid detection, also as 
 a basis on which the student may arrange a hat 
 trick of his own. Any articles can, of course, be 
 substituted for those given, or the list may be 
 supplemented by others, or cut down as occasion 
 may require. An amount of sang froid and bold- 
 ness, only acquired from years of actual practice, 
 is necessary to execute a good hat trick fault- 
 lessly ; but this should not disconcert the reader, 
 as it is only in accordance with what must be 
 expected in the acquisition of an art. 
 
 To Produce a number of Eggs from a 
 Hat held Crown upward. — For this purpose
 
 126 /Dyadic 
 
 you must be provided with a black linen bag, 
 oval in shape, and large enough to contain the 
 required number of eggs. To one end of this bag 
 is sewn an ordinary tie clip, the other end being 
 cut off and provided with a piece of elastic so that 
 eggs placed therein cannot come out unless 
 pressure be applied with the hand. The bag is 
 loaded into the hat by one or other of the 
 methods described, and attached to the lining of 
 the same by means of the clip. Under these 
 circumstances the production of the eggs from 
 the inverted hat will be an easy matter. The 
 eggs used should be blown ones. 
 
 The bag should be allowed to remain in the 
 hat after the last egg has been taken from it, 
 and removed later under cover of some other 
 article.
 
 CHAPTER YII 
 
 ANTI-SPIRITUALISTIC TRICKS 
 
 The ClimbijN^g Ei^^g. — The performer having 
 obtained the loan of a lady's ring, passes it over 
 the end of his wand, which he then holds in a 
 perpendicular position. The ring now com- 
 mences to climb up the wand very slowly, stop- 
 ping or descending at command ; finally it jumps 
 right off the wand and is caught by the per- 
 former, who immediately hands it back to the 
 lady. 
 
 This pretty experiment depends entirely upon 
 a black silk thread, about twice the length of the 
 wand, to which it is fixed at the uppermost end. 
 The means by which the thread is attached may 
 vary, but a good plan is to make a very small 
 knot in the end of the thread, which is then 
 passed through a fine slit cut in the end of 
 the wand, the knot making all secure. The 
 thread is then passed down the side of the wand, 
 in which position it will not be noticed. The 
 ring is now dropped over the wand, and conse- 
 
 127
 
 128 USa^Qic 
 
 quently over the thread, by the manipulation of 
 which it may be caused to rise or fall, or, in re- 
 sponse to a sharp tug, to jump right off the 
 wand. The wand is usually held in the left 
 hand, while the right, in which is the end of the 
 thread, holds the lapel of the coat, when all 
 that is necessary to obtain the desired result is to 
 move the left hand to or from the body as re- 
 quired. 
 
 The Mysterious N"ame. — This is a capital 
 trick, and one that can be introduced at any 
 time. The performer borrows a visiting card 
 from any stranger in the company, and, holding 
 it between the thumb and the second finger of 
 the hand, he waves it about very slowly, at the 
 same time asking some one to call out the name 
 of any celebrity. This having been done the 
 card is almost immediately handed back to the 
 owner, who finds the selected name written 
 thereon. 
 
 This ingenious trick is accomplished with the 
 aid. of a small accessory in the shape of a thimble, 
 to the end of which is attached a small piece of 
 pencil about a quarter of an inch in length. 
 This thimble having been placed on the forefinger 
 of the hand, it will be found, by experiment,
 
 2lnti*Splritual(5tlc ^rlcfts 129 
 
 that the name may very easily be written on the 
 back of a card held as instructed. 
 
 Prior to, and immediately after the trick, the 
 thimble may be palmed as instructed elsewhere. 
 
 A jSTe^v Postal Trick. — This is very useful, 
 as it can be employed in conjunction with any 
 trick where a word, message, total of sum, etc., 
 is to be produced in a magical manner. An ordi- 
 nary postcard is handed to a spectator with a 
 request that he will tear a small piece from one 
 corner, and having done so, hand both portions 
 back to the performer. The corner is laid on the 
 table and the card torn up into small pieces which 
 are then placed in the magic pistol (see p. 61), 
 and fired at a borrowed hat. The card is after- 
 ward produced from the hat covered with writ- 
 ing, and fully restored with the exception of the 
 corner, which on being fitted to the card is found 
 to correspond in every way. 
 
 The trick is accomplished with the aid of a 
 second card prepared with the necessary writing, 
 and from which a corner has been removed. 
 This card is secretly introduced into the hat when 
 returning with it to the stage. The performer, 
 having palmed the portion missing from the card 
 in the hat, makes an exchange when laying the
 
 130 /IRaatc 
 
 corner on the table. The plain card is then torn 
 into fragments, and together with its corner is 
 placed in the pistol, which is then fired at the hat. 
 It is well to place a piece of paper in the mouth of 
 the cone to receive the torn pieces of card, as by 
 this means the danger of dropping any on the 
 floor is obviated. 
 
 An additional effect may be obtained by having 
 previously placed in the body of the pistol a piece 
 of paper containing a powder for producing 
 colored fire, when, after having disposed of the 
 cup containing the torn card, you appear to over- 
 hear a remark to the effect that you have put 
 something in your pocket, to which you reply, 
 "No, I certainly did not put anything in my 
 pocket. See, here is the paper containing the 
 card " (really the package of colored fire). The 
 package of powder is then laid on a plate and 
 fired, after which the card is removed from the 
 hat. 
 
 New Slate Thicks. — Under this heading will 
 be noticed several methods, all of recent in- 
 vention, for performing the well-known slate 
 trick. 
 
 First Method. — Two ordinary school slates 
 are given into the hands of a spectator, who, after
 
 Hntl*Sp(rltuall5tlc Zxic\{3 131 
 
 making a careful examination, ties them together 
 with stout cord, in which condition they are 
 placed in the cabinet. Writing is immediately 
 heard, and when it ceases the slates are at once 
 handed out to the performer, who on separating 
 them finds the required message. 
 
 The secret lies in the fact that the medium is 
 provided with two small wooden wedges ; also 
 an umbrella rib, to which at one end is fitted a 
 minute piece of pencil. All he has to do, there- 
 fore, is to force the wedges between the slates on 
 one side until sufficient space is provided for the 
 insertion of the rib, when the writing of the 
 message will be found an easy matter. 
 
 Secoxd ^Ietiiod. — In this case the two slates, 
 after examination, may be actually screwed to- 
 gether with iron bolts, but in spite of this pre- 
 caution writing is obtained as before. 
 
 Under these circumstances the performer is 
 provided with a piece of prepared chalk — not the 
 conventional commodity as sold by every chemist, 
 but prepared by coating a piece of steel, about 
 the size of a pea, with chalk paste, which is then 
 allowed to dry. The piece of chalk is placed be- 
 tween the two slates, which are then bolted to- 
 gether and put into the cabinet ; when, under
 
 132 /Iftaglc 
 
 the influence of a powerful horseshoe magnet 
 passed over the outside of one slate as required, 
 the prepared chalk will produce the spirit 
 writing. 
 
 Third Method (one slate only). — After 
 examination the slate is held by the performer 
 above his head, when almost immediately writ- 
 ing is heard ; and on the slate being turned round 
 it is found to contain the desired message. 
 
 The slate, a small one for preference, is provided 
 with a loose vulcanite flap covering one side, and 
 concealing the writing which is already there. 
 The performer hands the slate round for exami- 
 nation (keeping the flap in position by means of 
 the fingers), and asks a spectator to initial it in 
 one corner to satisfy himself that it is not ex- 
 changed. This having been done, and while re- 
 turning to the stage, the performer removes the 
 flap under cover of his body and places it in the 
 vest, or in the large pocket in the breast of the 
 coat. He then holds the slate above his head, 
 fingers in front and thumbs behind. The sound 
 of writing is produced by scratching with one 
 thumb on the back of the slate, and when this 
 has been continued long enough the message is 
 revealed.
 
 Bnti=Spirltuall6tlc n:ricft6 133 
 
 Fourth Method (ois'e slate oxly). — In this 
 instance the slate, which is an ordinary one, is 
 shown to be clean on both sides, in which 
 condition it is given to a spectator to hold. 
 The performer then takes a pistol and, at a 
 few paces, fires direct at the slate, on which, 
 immediately after the report, the message is 
 discovered. 
 
 To produce this startling effect all that is neces- 
 sary is to write the message on the slate with 
 glycerine just before commencing the trick, and 
 to load the pistol with a small charge of powder, 
 on the top of which is placed a quantity of 
 powdered chalk. 
 
 The Spirit Handkerchief. — The effect of 
 this trick, Avhich is exceptionall}" good, is as fol- 
 lows : — Several knots having been tied in a large 
 silk handkerchief borrowed from a member of 
 the audience, it is thrown on the floor of the 
 stage when it immediately begins to act as 
 if it were a live snake, twisting and twirling 
 about in every conceivable form. The per- 
 former passes his wand over, under, and all 
 round the handkerchief, thus proving to the 
 satisfaction of the most astute that there are no 
 connections.
 
 134 /IRagic 
 
 It is hardly necessar}^ to say, however, that in 
 spite of such convincing proof to the contrary, 
 connection is actually made with the handker- 
 chief, and it is done in the following manner : — 
 A fine black silk thread is stretched across the 
 stage from one wing to the other, the ends being 
 in the hands of two assistants. Having obtained 
 the loan of the handkerchief, the performer, 
 standing behind the thread, takes it diagonally 
 by two corners and twists it up rope fashion. 
 He then ties three knots in it, one a little below 
 the centre, one a little above the centre, and the 
 third at one end. While this is being done the 
 assistants raise the thread round which the last 
 knot, forming the head of the snake, is actually 
 tied ; but owing to the thread being invisible this 
 will pass unobserved. 
 
 Having made the last knot the performer drops 
 the handkerchief on the floor, when its emulation 
 of a live snake will depend entirely on the adroit 
 manner in which the assistants manipulate the 
 thread. Finally, it should be made to jump into 
 the hand of the performer, who should at once 
 hand it, with the knots still tied, to the owner. 
 This is managed by the assistant at one end 
 dropping the thread and the other one pulling it 
 clear of the handkerchief.
 
 Bnti^Splritualistfc Zvicl{6 135 
 
 The Mysterious Commuxicatio^". — This 
 trick, which is a very good one, is performed by 
 a method very little known. The effect is as fol- 
 lows : — Any person writes on a piece of paper 
 any word or series of words to form a short 
 sentence, and having done so, folds the paper and 
 puts it in his pocket. At this stage the performer 
 introduces a reel of telephonic wire, the end of 
 which, containing a loop, is handed to the writer, 
 with a request that he will place the loop over 
 the ball of the left thumb. This having been 
 done, the performer places the reel against his 
 forehead, and, after a few seconds' thought, writes 
 the message, or an answer thereto, on the black- 
 board. 
 
 To obtain this result, all that is necessary is to be 
 provided with a piece of paper smeared over on one 
 side with white wax, or common washing soap ; 
 also a slab of plate glass by way of writing board. 
 The paper is placed on the glass, waxed side 
 downward, in which condition the assistant 
 takes it to a gentleman in the audience. When 
 writing on the paper a very faint impression, in- 
 visible to any one who does not actually look for 
 it, is obtained on the glass. In the act of taking 
 the glass back from his assistant the performer 
 obtains the desired cue. The use of the wire is
 
 136 /IBaafc 
 
 optional, but, of course, it adds much to the 
 effect of the trick. 
 
 The Great Dictionary Trick (new 
 method). — This is an improvement on the old 
 trick under this name, as any dictionary may be 
 used, whereas formerly the trick depended en- 
 tirely upon a dictionary composed of one page 
 repeated throughout. The effect is as follows : 
 
 The performer hands a sealed envelope to a 
 spectator, asking him to take care of it, and not 
 break the seal until requested. A dictionary is 
 then given for examination, after which a lady 
 inserts in it, at any page, a playing card. A 
 counter bearing a number, say twenty-seven, is 
 taken from a bag containing fifty, all numbered 
 differently ; the dictionary is opened at the page 
 containing the card, and due note is taken of 
 the twenty-seventh word indicated by the counter, 
 and which is, we will suppose, " Magic." The 
 gentleman is next requested to open the envelope, 
 and on doing so finds to his astonishment that it 
 contains a card on which is written " Magic, n, 
 sorcery ; enchantment," in exact accordance with 
 the word chosen, apparently by chance, from the 
 dictionary. 
 
 The seeming mystery is easily explained. Ob-
 
 Bnt(*Splr(tuallstlc ZxiCke 137 
 
 tain a new twenty-five cent pocket dictionary, 
 and, having opened it somewhere about the 
 middle, bend the covers right back until they 
 touch each other. Any new book used thus will 
 ever afterward, unless otherwise maltreated, 
 open readily at the same page. After the dic- 
 tionary has been examined the performer allows 
 it to fall open at this page, into which he secretly 
 introduces a playing card previously palmed in 
 his right hand. The book is then closed. 
 
 The performer, still holding the book, gives a 
 card, identical in every respect with the other 
 one, to a lady, with a request that she will insert 
 it between the leaves in any position and push it 
 right into the book. The performer, of course, 
 takes care that the two cards do not clash. In 
 this condition the dictionary is laid on the table. 
 
 A small bag, preferably of silk, is next intro- 
 duced, from which the performer takes a handful 
 of counters numbered from one to fifty and gives 
 them for examination, after which they are re- 
 turned to the bag. Any person is now allowed 
 to place his hand in the bag and remove one 
 counter, but it is needless to say, however care- 
 ful he may be, the number chosen will be twenty- 
 seven, which is accounted for by the fact that the 
 bag is provided with a division through its entire
 
 138 /IBagic 
 
 length, forming two pockets, one of which con- 
 tains the counters numbered one to fifty, and the 
 other, fifty counters all bearing the same number, 
 i. d., twenty-seven. 
 
 The dictionary is now opened by the performer 
 at his own page, which every one will take to be 
 the one chosen by the lady ; some one is asked to 
 note the twenty-seventh word on that page as 
 indicated by the counter, the trick being brought 
 to a conclusion as already described. 
 
 The performer can always ensure the left-hand 
 page of the opening being read, by holding the 
 book, with the card, in such a position that the 
 twenty-seventh word on the right-hand page can- 
 not be seen. Care must also be taken not to 
 expose the duplicate card. 
 
 By way of variation the chosen word may be 
 produced with the sympathetic ink, or it may be 
 revealed by the method employed in "A New 
 Postal Trick." 
 
 For the above trick, in the form described, I am 
 indebted to Mr. Maurice Victor, a most skilful ex- 
 ponent of sleight of hand. 
 
 LoKG-DiSTANCE SECOND SiGHT. — Two per- 
 formers, usually a lady and a gentleman, are 
 required for this seance. The gentleman intro-
 
 BntisSpirttualtetfc Cricfts 139 
 
 duces the lady, who is then escorted by a com- 
 mittee, chosen from the audience, to a room in a 
 different part of the house, in which she is 
 secured under lock and key. Several of the 
 committee then guard the room, while the others 
 return to the concert-hall and give the performer 
 the following particulars : — Time shown by any 
 watch (not necessarily the proper time) ; initials 
 of any person in the room ; any number of four 
 figures ; any word of four or five letters ; number 
 of cigarettes in any case, and kind of case ; 
 amount of money in any purse, and kind of 
 purse. After this has been done a member of 
 the committee takes pen, ink, and paper to the 
 lady, who immediately writes down the time, 
 initials, number, etc. ; these, on examination, are 
 found to be correct, although she has never left 
 the room, neither has the performer left the stage, 
 and no connection of any description exists be- 
 tween them. 
 
 This inexplicable performance is thus accom- 
 plished : The performer is provided with a small 
 writing pad, three and one-half inches by two 
 inches, consisting of a piece of cardboard, on 
 which are held, by means of two elastic bands, 
 several cigarette papers. This pad, together with 
 a small piece of soft lead pencil, is placed in the
 
 140 ^afltc 
 
 right-hand trousers pocket. As the various items 
 are called out, the performer stands with his right 
 hand in the pocket, a perfectly natural attitude, 
 and appears to be thinking deeply ; but he is 
 really writing down the particulars, one under 
 the other, on the cigarette paper, which, with a 
 little practice, can be done quite legibly. He then 
 tears off the paper and rolls it into a small bail 
 between the fingers. 
 
 A piece of plain paper is now obtained from 
 any member of the audience, in order to prove 
 that a prepared piece is not used, and together 
 with a fountain pen, supplied by the performer, 
 is taken, by one of the committee, to the lady. 
 While the paper is being obtained the performer 
 has ample time to remove the cap from the pen, 
 and, before placing it on the opposite end of 
 the pen in the place provided for it, he inserts in 
 it the small ball of paper, which is thus secretly 
 carried to the lady. On receipt of the pen and 
 paper the lady requests to be left alone for a few 
 seconds, as otherwise she will not be able to 
 obtain the aid of " the spirits," and in the absence 
 of the committeeman she takes a hairpin, and 
 with it extracts the ball of paper from the pen, 
 reads, and writes out the required information. 
 
 It is necessary that the order in which the
 
 Bntl*Spirltuali0tic ZTrlcfes 141 
 
 various items are called out should be known 
 alike to the performer and medium, as otherwise 
 the " time " might be mistaken for the " number," 
 and other errors might occur. A number of let- 
 ters to indicate the various kinds of purses and 
 cigarette cases, as " L " for leather, " S " for silver, 
 etc., should also be agreed on between the two 
 parties. 
 
 It will be obvious that the above trick is sub- 
 ject to much variation according to the taste of 
 the performer, and may be elaborated if desired. 
 A throw of dice ; a person's age ; or the name of 
 a selected card (write "8 D " for eight of dia- 
 monds, etc.) may be substituted for any of the 
 items given above.
 
 CHAPTEK YIII 
 
 ' AFTER DINNER TRICKS 
 
 In introducing to my readers a series of simple 
 but effective, tricks in magic, I would state that 
 it has been my life study to popularize the art of 
 sleight of hand, simply because, at the outset, I 
 was impressed with the idea that, while having 
 no desire to emulate the skilled professional 
 magician, certain very novel and entertaining 
 tricks were within the reach of all persons pos- 
 sessed with the least desire to amuse their friends. 
 
 Every one is not musical ; every one cannot sing 
 or recite ; but every one can, with but little 
 practice, learn to perform the following tricks, 
 and thus put themselves in a position to brighten 
 what might otherwise prove to be a dull evening. 
 
 The Chinese Cross. — The only properties 
 required for this excellent little trick are six stout 
 straws of the kind used for lemonade, and the 
 small metal accessory shown at A in Fig. 30. 
 The straws are fashioned into the form of across 
 as shown in the figure, which is about half the 
 142
 
 Bttcr Dinner G^rtcfts 
 
 143 
 
 actual size. It will be observed that pins are 
 passed longitudinally, through the three straws 
 at each extremity of the structure ; this is done 
 with a view to keeping it perfectly flat, other- 
 wise the binding where the two pieces intersect 
 would not be effectual. The piece of metal is 
 next pushed into the centre straw at the foot of 
 the cross in such a manner that it will not readily 
 
 P 
 
 A 
 
 1"? 
 
 Fig. 30.— Chinese Cross 
 
 fall out, and so as to be entirely covered with the 
 exception of the sharp needle point. The cross is 
 laid on the palm of the left hand ; the right hand 
 makes a few passes over it, when it is suddenly 
 seen to stand erect, and to rise or fall at command. 
 The method of working is as folio Vv^s: — The 
 cross is laid on the hand in such a manner that 
 its foot, carrying the metal fake, point upward, 
 comes in contact with the base of the middle
 
 144 ^agfc 
 
 finger ; the point is now inserted in the hard flesh 
 at the base of the said finger, when it will be 
 found that to cause the cross to lie flat on the 
 hand the fingers must be bent at an angle of 
 about sixty degrees to the palm. If the hand be 
 now straightened out very slowly the cross will 
 rise gradually until it assumes a perpendicular 
 position — or ninety degrees. By a slight move- 
 ment of the fingers, practically imperceptible, 
 and if noticed at all raising no suspicion, the cross 
 is caused to rise and fall as often as desired. 
 
 In view of the possibility of the cross being 
 " snatched " by a person overanxious to discover 
 the secret, care should be taken to see that the 
 metal fake is attached to the hand more firmly 
 than to the centre straw. Perhaps the better 
 way would be to work the trick w^th the fake 
 attached to the hand from the commencement, 
 then the cross may be given for examination at 
 any time. 
 
 The Floating Metal Disc. — Here a metal 
 disc about the size of a quarter is caused to sink 
 or swim at command in water contained, for con- 
 venience, in a shallow glass tray. 
 
 The secret in this case depends upon duplicity ; 
 in reality there are two discs, the one an exact
 
 Bftec 2>fnncr ^ricfts 145 
 
 duplicate of the other in appearance, but con- 
 siderably lighter in weight. Aluminium and zinc 
 are alike in appearance and afford the necessary 
 disparity, in weight. 
 
 The zinc disc is given for examination, and a 
 member of the audience is requested to float it on 
 the water ; he, of course, fails. On receiving 
 back the zinc disc the performer "rings " it for 
 that in aluminium and proceeds to surprise the 
 company. I have arranged a special sleight of 
 hand change for the trick as follows : — You carry 
 a handkerchief in the left breast pocket and the 
 aluminium disc palmed in the left hand. On 
 receiving back the zinc disc in the right hand, 
 you forthwith seem to place it in the left hand, 
 really palming it and showing its prototype. The 
 right hand now takes the handkerchief from the 
 pocket and proceeds to dry what seems to be the 
 wet zinc disc. This latter action gives an excuse 
 for the transfer of the disc from one hand to the 
 other, while the handkerchief effectually con- 
 ceals the " palm." 
 
 The disc is now floated. The handkerchief and 
 the zinc disc are now transferred in a careless 
 manner to the left hand, which forthwith returns 
 the handkerchief (handkerchief only) to the 
 pocket.
 
 146 /iBagfc 
 
 The performer is now in a position, at the con- 
 clusion of the floating, to repeat the exchange 
 above, dry the disc, and once more hand it for 
 examination. 
 
 It is not absolute!}^ necessary to give the metal 
 for examination a second time, in which case the 
 duplicate may, after the first " change," be dis- 
 posed of entirely under cover of returning the 
 handkerchief to the pocket. 
 
 When apparently wiping the disc dry be care- 
 ful that it is never once completely hidden from 
 view, or an exchange may be suspected. 
 
 The Balanced Coins. — No particular dex- 
 terity is necessary to perform the trick I am 
 about to describe, although considerable care 
 must be exercised for its successful execution^ 
 The performer, having obtained the loan of three 
 pennies, lays them in a row on the palm of the 
 left hand, in which position they may be inspected 
 by all present. He then, with the thumb and 
 second finger of right hand, grasp the edges of 
 the outermost coins and raises all into a perpen- 
 dicular position. 
 
 The trick is performed with the actual bor- 
 rowed coins ; the secret depends upon the 
 introduction of a little accessory in the shape of
 
 atter Blnner ^tlcfts 147 
 
 a thin strip of wood one-quarter of an inch wide, 
 and in length about one-sixteenth of an inch 
 longer than the combined diameter of the three 
 coins. At the commencement this strip of wood 
 is held concealed in the left hand, being held 
 between the base of the thumb and the first joint 
 of middle finger. The performer receives the 
 coins in the right hand, then transfers them to 
 the left hand, secretly placing them in the re- 
 quired position : the coins effectually hide the 
 strip of wood and all may be examined. Kow 
 by grasping the coins, together with the strip of 
 ^vood, (as explained above) no difficulty will be 
 found in securing the desired effect. In conclu- 
 sion the coins are again laid carefully in the left 
 hand, then tossed with apparent carelessness into 
 the right hand and forthwith handed to the owner. 
 The strip of wood is of course " palmed " in the 
 left hand (as described above) in the act of tossing 
 the coins into the right hand. 
 
 Mutilated Cigarette Paper. — A pretty 
 little trick of an impromptu nature, in which 
 a cigarette paper having been torn into a 
 number of pieces, the pieces being rolled up 
 into a little ball, is afterwards found completely 
 restored.
 
 148 /IBagic 
 
 First Method. — The performer is smoking a 
 cigarette ; this is an indispensable condition of 
 the trick. By the side of the cigarette, on the 
 right, concealed between the lips, is a little paper 
 ball made from a duplicate whole paper. When 
 presenting the trick, as when smoking in the or- 
 dinary way, the cigarette is occasionally taken 
 between the forefinger and thumb of the right 
 hand ; experiment will also show that the little 
 paper ball may be removed and replaced, quite 
 secretly, by holding it between the finger and 
 thumb of same hand. (See Fig. 31.) 
 
 Thus prepared, the performer hands packet of 
 papers to a gentleman, with a request that he will 
 take one, mutilate it, and roll up the fragments 
 into the form of a little ball. While this is being 
 done the performer casually shows both hands 
 empty, occasionally removing the cigarette from 
 his mouth, and finally securing duplicate ball. 
 Xow, under the pretense of showing the gentle- 
 man the proper way to roll the paper, he takes it 
 between the finger and thumb of the left hand, 
 and having rolled it about a little, passes it over 
 to right hand, where, under cover of the manipu- 
 lations, it is passed to the rear, the duplicate 
 whole paper taking its place. (See Fig. 32.) 
 The performer now returns the paper (the whole
 
 Bttcr Dinner Zxic\{6 149 
 
 one) to the gentleman with the right hand, and 
 forthwith, with the same hand, takes cigarette 
 from mouth, thus concealing duplicate ball be- 
 tween fingers (see 
 Fig. 31) without (^ 
 exciting suspicion. 
 Finally the torn 
 pieces are placed 
 in the mouth when 
 returning cigarette, 
 and kept there un- ^ig. 3i.-Cigarette Trick 
 
 til an opportunity arrives for removing them in 
 secret. 
 
 Secoxd Method. — This is no less interesting 
 than the method described above. In this case 
 the packet of cigarette papers is prepared before- 
 hand by rolling up one into a little ball, and fix- 
 ing it on the underside, near the edge at one end, 
 of the second in order from the top. 
 
 Thus prepared, the performer removes the 
 packet from his pocket, and tearing off top paper, 
 hands same to a gentleman with a request that he 
 will tear it into small pieces. Says the performer, 
 " I will take one and show you what I mean ; tear 
 it as I do." Saying this, he removes second paper, 
 and with it the duplicate ball. While tearing the
 
 150 /llbagfc 
 
 paper the little ball is kept concealed between the 
 forefinger and thumb, by no means a difficult 
 matter, and occasionally passed from one hand to 
 the other that the hands may be shown empty 
 alternately. When the tearing is complete, the 
 performer screws up paper with the remark, " Now 
 roll the pieces into a little ball 
 like this — thank you, that will 
 do nicely." While giving 
 these instructions he passes 
 his torn paper to the rear, 
 Fig. 32.— Cigarette where it is completely con- 
 cealed by being pressed tightly 
 between first joint of finger and thumb ; the 
 duplicate ball being presented at the extreme 
 tips of same fingers. (See Fig. 32.) 
 
 Continuing, the performer remarks, " l^ow 
 please take this little ball and give me yours." 
 This is done, care being taken not to expose se- 
 creted ball. Performer now accuses gentleman of 
 retaining one of his pieces ; this of course leads to 
 an examination, whereupon the gentleman and 
 all present are surprised to find the paper com- 
 pletely restored. Finally the performer unfolds 
 the pieces of gentleman's paper, with which he also 
 mingles his own, with the remark, " You evidently 
 don't quite understand the trick, sir."
 
 Bfter ©inner Zxic'hs 151 
 
 To EEAD THE WhOLE OF THE CaRDS I^" A 
 
 Pack just Shuffled (xew method). — The 
 performer gives pack of cards to be shuffled, and 
 when returned places them behind his back and 
 calls out the name of a card. He brings the card 
 forward and throws it on the table, and continues 
 in this manner to name every card in the pack. 
 
 The secret is exceedingly simple. A second 
 pack of cards, prearranged in a given order, is 
 substituted, as hereafter explained, for the pack 
 shuffled by the audience. All the performer has 
 to do then to make the trick a success is to acquire 
 a thorouo^h knowledo:e of the order of the cards 
 in the prepared pack. The order of the fifty-two 
 cards can be learned in five minutes by the aid of 
 the following mnemonic : 
 
 I^ive Kings ivanted {one fen), six Knaves. For 
 {four) twenty-tTiree ifioo three) ladies {queen) or 
 eighty-nine {eight nine) slaves {seven). 
 
 The above gives the order of the values of the 
 cards only ; the suits must, of course, follow in 
 regular sequence, say : Diamonds, clubs, hearts, 
 spades. Example : On the table, face upward, 
 place the five of diamonds, on this the king of 
 clubs, on this the ace of hearts, on this the ten of 
 spades, on this again the six of diamonds ; and so 
 on throughout the pack. Thus arranged, the pack
 
 152 IfbnQic 
 
 may be cut to any extent without disturbing the 
 order of the cards. 
 
 The exchange of packs is carried out under 
 cover of a natural movement, as follows : — Per- 
 former receives the shuffled pack in the left hand 
 and forthwith places it behind his back, resting 
 the hand on the hip. The right hand is now 
 placed to the rear, ostensibly for the sole purpose 
 of removing the handkerchief from the left tail 
 pocket, with which the performer is subsequently 
 blindfolded ; the right hand, however, first re- 
 lieves the left hand of the shuffled pack and care- 
 fully lowers it into the pocket containing the 
 handkerchief and prepared pack ; these two latter 
 are then removed together, the cards being placed 
 in the left hand and the handkerchief brought to 
 the front. Performer now requests some mem- 
 ber of the audience to blindfold him in order to 
 preclude the possibility of his obtaining assistance 
 from mirrors or other reflecting surfaces. As he 
 makes the request he turns round, thereby cas- 
 ually drawing attention to the cards still in the 
 left hand, and which all present will readily be- 
 lieve to be those shuffled. 
 
 The solution will now be clear, but various 
 little additions will, doubtless, suggest themselves 
 in the working of the trick. For instance, the
 
 Btter S)inner Zxicl\6 
 
 153 
 
 performer may undertake to pick out any card 
 called for, which, with a little practice, will be 
 seen to be easy of accomplishment. If the card 
 asked for is out he will state the fact. 
 
 In making this reference I would state that the 
 above doggerel 
 rhyme has been 
 arranged, quite re- 
 cently, by myself. 
 It will be seen 
 that it gives a to- 
 tally different or- 
 der of the cards, a 
 much-needed vari- 
 ation, from the 
 now hackneyed 
 rhyme which for 
 ages has appeared 
 in all works on 
 card conjuring. 
 
 B ALAiq-cixa 
 Feats . — T a k e 
 
 tliree dessert knives and arrange them in tri- 
 angular fashion upon three tumblers. Upon the 
 triangular space formed by the intersection of 
 the knife blades, deposit a water bottle, and upon 
 
 Fig. 33. — Balancing Knives
 
 154 
 
 /Bbac^fc 
 
 the mouth of the bottle an apple, (Fig. 33). It 
 seems quite an impossible feat, but it is readily 
 accomplished. 
 
 Another curious experiment in equilibrium is 
 the following : Take a couple of forks and ar- 
 range them with their prongs one set over the 
 other, and stick a silver dollar between the mid- 
 dle prongs, thus uniting the tw^o forks. This ac- 
 complished, place the coin flat on the rim of a 
 tumbler, pushing it outward until the two cir- 
 cumferences touch externally. The coin v>ath 
 appendent forks will remain balanced much to 
 
 the surprise of 
 the company, 
 (Fig. 34). You 
 may follow 
 this up by 
 pouring the 
 water steadily 
 from the glass 
 into a second 
 glass, without 
 disturbing the 
 tooney or the forks, which remain in equilibrio. 
 The above clever feats may properly be per- 
 formed at the dinner-table after dessert has been 
 brought on. 
 
 Fig. 35, — Balancing Forks
 
 attcc £)lnner CricKs 155 
 
 TValxut Shells axd Pea. — This is an excel- 
 lent table trick, and can be performed at close 
 quarters without much fear of detection. The 
 only articles required for the execution of the 
 trick are three half walnut shells and a pea. The 
 three shells are laid in a row on the table, the' 
 pea being placed under the centre one, from 
 which position it disappears and is ultimately 
 found under either of the end ones at the will of 
 the performer. The table used must be covered 
 with a cloth of some kind. 
 
 The secret lies in the pea, which is fashioned 
 from a piece of india-rubber, but unless closely 
 inspected cannot be distinguished from the or- 
 dinary everyday article. AYhen presenting the 
 trick the pea is actually placed under the middle 
 shell. The shells are then, each in turn, com- 
 mencing from the one on the left, pushed up the 
 table about three inches. When moving the 
 middle one the pea, owing to its nature and the 
 concavity of the shell, will be found to work its 
 way out, when it is instantly seized with the 
 thumb and middle finger. This, however, can- 
 not be suspected, as the hand retains a perfectly 
 natural position. The third shell is then moved 
 into a line with the other two. 
 
 The pea can now be caused to appear under
 
 156 llbnQic 
 
 either of the shells at pleasure, all that is nece3> 
 sary being to leave it on the table immediately 
 behind the shell in the act of raising the same. 
 
 In effect this trick is identical with that 
 known as " Thimble Eigging," which it is there- 
 fore needless to describe, but the secret is much 
 prettier and calculated to deceive more thor- 
 oughly. 
 
 The Kestored C ut. — This is a very interesting 
 little trick, and is especially suitable for an after- 
 dinner surprise. The performer takes a needle 
 containing about a yard of thread, and passes it 
 through an apple. The cord is then pulled back- 
 ward and forward, after which the apple is cut 
 in half with a table knife; both portions are 
 shown, the cord having to all intents and pur- 
 poses been severed. The two portions are then 
 united and the cord is pulled backward and for- 
 ward as before. 
 
 The performer prepares for the trick by pass- 
 ing the needle in at the side of the apple and 
 bringing it out at the end opposite the stalk, in 
 which condition it is laid on the table. 
 
 When about to present the trick the performer 
 takes up both articles, which if held properly will 
 appear to be separate, and announces that he is
 
 attec ©inner Jlxic'ke 157 
 
 about to pass the thread through the apple. He 
 apparently does so, but really inserts the needle 
 at the point where it came out, passing it to the 
 opposite side. The thread is now pulled back- 
 ward and forward, when it will appear to actu- 
 ally traverse the centre of the fruit. 
 
 The apple is then cut in half, at right angles to 
 the cord, which under the circumstances will re- 
 main uninjured. The parts are now handed 
 round for inspection, care being taken to keep 
 them together at the bottom, after which they 
 are replaced and the cord shown to be intact. At 
 the conclusion of the trick the thread should be 
 withdrawn from the fruit and given for examin- 
 ation; this also prevents the discovery of the 
 secret by any inquisitive spectator. 
 
 The Gaeter Trick. — This is a very old trick, 
 and from its title will be recognized at once as 
 common to the sharps who frequent race-courses. 
 It is not, however, generally known, and as it 
 forms a good table trick a description of it may 
 not be out of place. It is usually performed with 
 a piece of stiff half-inch tape ; an ordinary" inch 
 tape measure will answer the purpose admirably. 
 The tape is folded in half and coiled round and 
 round on the table until it is almost impossible to
 
 158 ^a^ic 
 
 tell for certain which is the loop proper, i^ e., the 
 point at which the tape was doubled. (See Fig. 
 35.) The bystander is then requested to place 
 the point of his penknife in the loop, but how- 
 ever careful he may be in his selection he will 
 fail, as the performer is able to pull the tape clear 
 of the knife in all cases. The secret lies in the fact 
 that the tape is not folded exactly in half, one end 
 being left shorter than the other by about three 
 inches. When uncoiling the 
 tape, if the knife be actually 
 placed in the loop, and both 
 ends are pulled from the point 
 A, it will not come away ; but 
 if the short end be passed round 
 to the left and both ends pulled 
 Fig. 35.— Garter from the point B, it will be 
 "^ found to come clear of the knife. 
 
 All the performer has to do, therefore, is to watch 
 and see if the knife is really placed in the loop or 
 otherwise, and to act accordingly. The short 
 end is carried round under cover of the fingers 
 w^hile twisting the tape. 
 
 Fig. 35 is arranged for clearness, but in actual 
 practice the tape would receive many more 
 twists, which would also be of a more intricate 
 nature.
 
 CHAPTER IX 
 
 MISCELLAXEOUS TRICKS 
 
 Flash Paper. — Having had occasion several 
 times during the course of the present work to 
 make use of " ilash paper," I will now describe 
 the manner in which it is prepared. It is not, 
 however, practical to manufacture it at home, as 
 it can be obtained in large quantities at a very 
 small cost. 
 
 A mixture of nitric and sulphuric acids, one 
 part of the former to two of the latter, is made, 
 and allowed to stand for twelve hours before 
 using. The experiment should be made in the open 
 air. Ordinary tissue paper is then immersed in 
 the fluid for a few seconds, after which it is taken 
 out and washed well in clear water, until all 
 trace of the acid has been removed. This can 
 be ascertained by the use of blue litmus paper, 
 which when dipped into the water will betray 
 the presence of the acid by turning red. The 
 paper should then be dried in a warm atmosphere, 
 but not near a fire, and it is ready for use. 
 
 Flash handkerchiefs are prepared in a similar 
 
 159
 
 manner. For this purpose take a piece of fine 
 cambric, wash it well in hot water to remove all 
 grease and other impurities, and then treat it in 
 the same way as the paper. 
 
 A New Fire Flash. — This forms a very 
 good opening trick. The performer steps on the 
 stage and, in what appears to be a careless man- 
 ner, picks up a piece of paper from the floor, rolls 
 it up in his hands, and throws it in the air, where 
 it disappears in a flame, leaving no trace behind. 
 
 To produce this effect you must obtain some 
 very fine glass tubing about the thickness of a 
 darning needle, and having broken off several 
 pieces about an inch long, fill them with sulphuric 
 acid. This can be done with the aid of a long 
 piece of india-rubber tubing, the acid being drawn 
 into the glass by suction. The ends of the tube 
 are then sealed hermetically in the flame of a 
 spirit lamp. You must next prepare a powder 
 composed of equal parts of chlorate of potass 
 and powdered lump sugar. Wrap a very small 
 quantity of this powder — about as much as will 
 lie on a penny — together with one of the acid 
 tubes in a piece of flash paper, and all is ready. 
 
 When rolling up the paper in the hands the 
 tube is broken ; the acid escapes and fires the
 
 /IBi6cellancou0 Xlricfts 161 
 
 powder, which in turn sets fire to the paper and 
 produces the desired result. 
 
 Caution. — To prevent accidents never prepare 
 the papers or even mix the powder, until actually 
 required for use. 
 
 Conjurer's Ammunition. — The magic pistol 
 described on p. 61 is usually loaded with a small 
 charge of powder. This is excellent for stage 
 purposes, but hardly suitable for the drawing- 
 room, where some objection might be taken to 
 the employment of powder, even in a small quan- 
 tity. The pistol, however, need not be discarded, 
 as it can still be used in a manner that will in no 
 way detract from the charm of the trick. Load 
 the pistol with a piece of flash paper, place a per- 
 cussion cap on the nipple, and pull the trigger. 
 The paper will take fire and be thrown from the 
 pistol, vanishing in a sheet of flame at the oppo- 
 site end of the room. 
 
 Again, the pistol need not be loaded at all, but 
 just as you are about to fire you appear to under- 
 stand that the ladies object, and remark — " Oh ! 
 I see the ladies object to the report — well in that 
 case I will use the pistol as an air-gun." Saying 
 this, you remove the conical tube and blow 
 through it to cause the supposed transmission.
 
 162 /Hbaglc 
 
 Smoke from Two Empty Pipes.— Two 
 empty and clean clay pipes are passed round 
 for examination and proved ostensibly to be un- 
 prepared. The bowls are then placed one over 
 the other, when the performer, by simply insert^ 
 ing one of the stems in his mouth, commences to 
 blow clouds of smoke from the pipes. 
 
 The solution of the mystery is as follows : — A 
 few drops of hydrochloric acid (spirits of salts) 
 are placed in one of the pipes, while the other is 
 similarly treated with ammonia. The union 
 of the two chemicals produces a thick vapor, 
 which has all the appearance of smoke produced 
 from tobacco. 
 
 A good combination trick may be formed by 
 preparing a glass tumbler and the bottom of a 
 tea plate, as above described ; the plate is then 
 placed over the tumbler, the whole being cov- 
 ered with a handkerchief. The smoke so mys- 
 teriously produced from the pipes may now be 
 caused, apparently by some occult means, to find 
 its way into the closed tumbler. 
 
 Fire-eating Trick.— This, although a very 
 startling trick, is quite harmless, and can be per- 
 formed b}^ any one. Small balls of fire are placed 
 in the mouth and, apparently, swallowed, being
 
 /nbisceUaneous Zncl\B 163 
 
 immediately afterward produced from the ears, 
 or any part of the body that fancy may suggest. 
 
 The balls are small pieces of camphor cut to 
 shape, and are lighted in the flame of a candle. 
 They should be tossed from one hand to the 
 other, and finally into the mouth, which should 
 forthwith be closed. This, of course, extin- 
 guishes the balls, which should be secretly re- 
 moved at the earliest opportunity. 
 
 The reproduction of the balls of fire is man- 
 aged with the aid of the acid tubes mentioned on 
 p. 160, which, together with a small quantity of 
 the powder, should be wrapped up in flash paper, 
 and deposited about the person as required. The 
 best effect, however, is obtained by producing 
 them from behind the ears ; it is also a very con- 
 venient method, as the tubes are not so likely to 
 be prematurely fractured. 
 
 Exploding Soap-bubbles. — This is a nov- 
 elty, and will be found to produce a very good 
 effect. The bubbles are blown in the usual way 
 with an ordinary clay pipe, the only preparation 
 necessary being that the bowl of the pipe must be 
 filled with cotton-wool soaked in gasolene. Bub- 
 bles blown with a pipe thus prepared will be found 
 to explode in a flame when approached with alight.
 
 164 
 
 ^adtc 
 
 The Tube and Ball. — This is a very ingeni- 
 ous trick, and well worthy the attention of the 
 most fastidious performer. It can be used in sev- 
 eral ways. 
 
 The apparatus consists of a piece of one and 
 one-half inch brass tubing about seven 
 inches long, with a cap of the same 
 ^ metal fitting loosely over one end ; also 
 two billiard balls about the size of the 
 diameter of the tube. The audience, 
 however, are not supposed to know of 
 the existence of more than one ball. 
 (See Fig. 35.) The tube and cap, to- 
 gether with the ball, are given for ex- 
 amination, attention being drawn to 
 the fact that the ball will readily pass 
 through the tube. After examination 
 the tube is stood on one end on the 
 table and covered with the cap. Tho 
 operator then takes the ball and van- 
 ishes it by means of sleight of hand, 
 when, on the tube being raised, it has 
 to all appearance been passed underneath. 
 
 The secret lies in the fact that there is a very 
 small dent in the side of the tube at the centre ; 
 also that one of the balls — that given for exam- 
 ination — is slightly smaller than the other. The 
 
 Fig. 36.— 
 
 Tube and 
 
 Ball
 
 /eblsccUancous G:r(cft6 les 
 
 small ball runs freely through the tube, but the 
 large one will not pass the centre on account of 
 the indentation. 
 
 On receiving back the* tube the performer 
 secretly drops the large ball into it, which, owing 
 to the force of the fall, is pinched in the centre 
 and will not fall out. In this condition the tube 
 can be turned about in all directions and will 
 still appear empty. When placing it on the table 
 the performer is careful to bring it down rather 
 smartly on the end at which the ball was intro- 
 duced, when, owing to the concussion, the ball is 
 released and falls on the table. 
 
 The tube can be used to cause the disappear- 
 ance of a ball in the following manner : — Place 
 the ball on a tea plate and cover it with the tube, 
 which in turn cover with a second plate. By re- 
 versing the position of the structure the ball 
 falls into the tube, where it is retained in the 
 manner described, and after a little more twist- 
 ing and turning, to add to the general confusion, 
 the plates are removed and the ball is proved to 
 have disappeared. 
 
 The ball can of course be reproduced if de- 
 sired ; or if two tubes are used it may be, appar- 
 ently, passed from one to the other. In this 
 case, however, it is suggested that round discs
 
 166 
 
 ^a^ic 
 
 of wood be used in place of the plates, as the 
 latter would be likely to get fractured in the act 
 of bringing the tube down with sufficient force 
 to dislodge the ball. * 
 
 The Ubiquitous Thimble.— This is one of 
 the prettiest sleight of hand tricks in existence, 
 and requires very little practice. For the pur- 
 pose of the trick, in its entiretj^, the performer 
 must be provided with two thimbles exactly 
 alike; but very many surprising passes can be 
 
 made with one 
 thimble only. The 
 idea of the trick 
 proper is to cause 
 
 a thimble placed 
 on the forefinger 
 of the right hand 
 Fig. 37.-Thimbie Trick ^^ disappear and 
 
 be found on the corresponding finger of the left 
 hand, without the hands approaching each other. 
 It is usual, however, in the first place, to execute 
 a number of passes with one thimble only, as by 
 this means the audience will be the less likely to 
 suspect the introduction of the second one. The 
 main thing necessary is to acquire the knack of 
 holding a thimble in the fleshy portion of the
 
 /ibisceUaneous G:ncft6 167 
 
 hand at the root of the thumb, in which position 
 it can be placed, or removed at pleasure, by 
 simply bending the forefinger. (See Figs. 37 and 
 38.) This sleight must be executed with equal 
 facility with both hands. 
 
 When about to present the trick the performer 
 comes forward with a thimble on the forefinger 
 of the right hand, the second one being in the 
 left-hand trousers pocket. He now appears to 
 place the thimble in 
 the left hand, but 
 really, when the right 
 hand is in motion to- 
 ward the left, it is 
 palmed as described. 
 The left hand is then 
 brought down ,yitl, ^^S- ^^--"^^^^^ ^^ Root ot 
 
 some force on the head 
 
 and the thimble produced from the mouth on the 
 forefinger of the right hand. This can be done 
 with perfect ease, as, so long as the hand is kept 
 in motion during the recovery of the thimble, 
 there is no fear of the movement being detected. 
 The thimble is then apparently placed in the 
 mouth, really being palmed as before, and after- 
 ward produced from the bottom of the vest. 
 While doing this the performer stands with the
 
 168 ffb^QiC 
 
 left hand in the trousers pocket and palms the 
 second thimble. Both hands are now held palms 
 away from the spectators, and kept in continual 
 motion. Under cover of this the right-hand 
 thimble is palmed, and that in the left hand pro- 
 duced, when it will appear to have been passed 
 from one hand to the other. This can be re- 
 peated as often as desired. 
 
 Finally the second thimble should be se- 
 cretly disposed of, and the trick brought to a 
 conclusion with a pass performed with the one 
 only. 
 
 An additional effect may be obtained by the 
 use of two thimbles, one fitting over the other. 
 These should be made in thin metal so as to be, 
 in point of size, as near alike as possible. The 
 two thimbles, which appear as one only, are 
 placed on the forefinger of the right hand, and 
 covered with a small paper cone, with the re- 
 mark, " You see the cone just fits the thimble ; 
 I will now show you a rather extraordinary ex- 
 periment with the same." The cone is then re- 
 moved, with slight pressure at the base, and 
 placed on the table on the supposition that it is 
 empty, but it really contains the uppermost thim- 
 ble. The one left on the finger is then vanished, 
 under cover of a throwing movement toward
 
 ^tscellaneouB tTrlcfta 
 
 169 
 
 the cone, which is then removed by the apex and 
 the thimble discovered. 
 
 While all attention is drawn to the table the 
 duplicate thimble is dropped into the profonde. 
 
 The Mysterious Tambourine. — It is gen- 
 erally understood that, should the silk hat go out 
 of fashion, conjurers would be at a loss for a 
 suitable article wherewith to work the numerous 
 "production" tricks. Should such a calamity 
 ever befall the profession the mysterious tam- 
 bourine will, to some extent, come to the rescue. 
 
 The apparatus consists of two nickel-plated 
 brass rings, eight 
 inches in diameter 
 and one inch deep ; 
 the one fitting easily 
 over the other. (See 
 Fig. 39.) The tam- 
 bourine is con- 
 structed b}^ placing 
 a sheet of paper be- 
 
 tween the two rings. 
 
 Fig. 39.— Tambourine Trick 
 
 and pressing the upper one down over the lower, 
 the edges of the paper being afterward trimmed 
 round with scissors. Thus prepared it is shown 
 back and front.
 
 170 /Hbaflfc 
 
 The prestidigitateur then makes a small hole 
 in the centre of the paper with his wand, and 
 immediately commences to twist out yard after 
 yard of colored paper ribbon, sufficient being 
 obtained to fill a large clothes basket. If the 
 performer desires to add to the effect of the trick 
 the production of the ribbon may be preceded 
 by that of a number of handkerchiefs, also a 
 quantity of spring flowers and other articles of 
 a like nature. Finally a rabbit or a large bird 
 cage containing a live bird may be produced 
 from the pile of ribbon. 
 
 The explanation is very simple. The tam- 
 bourine is put together at the rear edge of the 
 table, and when taking it up prior to trimming 
 the edges, the coil, which was on the servante or 
 suspended at the back of the table, is brought 
 away under cover of the paper and pressed into 
 the ring. The back of the colored coil should 
 be rubbed over with chalk to match the white 
 paper used in the construction of the tambourine, 
 which can then be shown back and front, but 
 but will still appear empty. 
 
 The flowers should be done up in three packets 
 of twenty each and laid on the coil, being covered 
 with the handkerchiefs, which should be folded 
 vip neatly. The packet is then tied together with
 
 /iBlscellaneous Zxic^s 171 
 
 thin cotton, which can easily be broken when re- 
 quired. 
 
 The rabbit is in readiness in the profonde on 
 the right side, and is introduced into the ribbon 
 when picking it up from the floor. 
 
 The cage, which should be a folding one, is 
 suspended behind the back of a chair, over which 
 the ribbon would be thrown while performing a 
 simple trick with one of the handkerchiefs. In 
 the act of taking the ribbon from the chair op- 
 portunity would be found for introducing the 
 cage unobserved. 
 
 The Bra:^ and Dove Plates. — The trick 
 about to be described, in its primary form, con- 
 sists of changing a quantity of bran or flour into 
 a live dove. It can, however, like the tambourine, 
 be made available for the production of various 
 articles, and is especially suitable for the magical 
 distribution of bonbons, sweets, etc. 
 
 The performer comes forward with an ordinary 
 soup plate filled to overflowing with bran, a por- 
 tion of which is scattered over the stage to prove 
 its genuineness. The bran is then covered with 
 a second plate, which on being removed reveals 
 a live dove, the bran having entirely disappeared. 
 
 The explanation is as follows : — One of the
 
 172 /nbafllc 
 
 plates is fitted with a tin lining, enamelled white 
 on the inside to represent the china. (See Fig. 40.) 
 The supposed bran is really this tin lining turned 
 upside down with bran gummed all over it; a 
 handful of loose bran being thrown on the top. 
 It is hardly necessary to say that the dove is 
 already in the plate concealed by the bran shape. 
 The false heap of bran is now covered with the 
 second plate, and while talking the performer, in 
 a careless way, turns the plates over several 
 times, finally placing them on the table in such 
 
 a manner that the one 
 I \ that w^as formerly upper- 
 
 most shall now be at the 
 bottom. All he has to 
 
 T. ...^ rp . 1 T.W ^^ ^ow is to remove 
 Fig. 40.— Trick Plate 
 
 the uppermost plate and 
 take out the dove. The inside of the bottom 
 plate should now be shown, when it will appear 
 perfectly empty. 
 
 In place of the dove the plate may be loaded 
 with sweets and small toys, for distribution ; or 
 with a list of articles similar to those produced 
 from the tambourine. If a coil of ribbon be used 
 it should be a colored one, with one side rubbed 
 over with chalk so that the inside of the plate 
 may be shown prior to its production.
 
 Afscellancous tTricfts 173 
 
 By using two pairs of these plates, and being 
 provided with two doves exactly alike, the bran 
 in one may be made to, apparently, change places 
 with the dove in the other. 
 
 The "Wandering Stout. — The feat bearing 
 this title consists of causing a glass of stout to 
 pass through the crown of a borrowed hat. 
 Having obtained the loan of two hats, the per- 
 former places them on the table mouth to mouth, 
 and stands the glass of stout on the crown of the 
 uppermost one, covering it with a paper cylinder 
 of the same height as itself. On removing the 
 cylinder it is shown to be perfectly empty, the 
 glass being immediately taken from the lower 
 hat. 
 
 For the performance of the trick the operator 
 must be provided with a glass three and one- 
 fourth inches high by two and one-half inches in 
 diameter at the mouth, tapering very slightly 
 toward the bottom. The kind known as picnic 
 glasses will be found the most suitable. In 
 addition to the glass and the paper cylinder a 
 piece of glass tubing of the same height as the 
 tumbler, and large enough to pass easily over the 
 same, will also be required. This piece of tubing 
 must be blackened on the inside to within one
 
 174 ^agtc 
 
 inch of the top, and finished with a little white 
 paint to represent froth, when, thus prepared, it 
 will readily pass for a glass containing stout. 
 
 The paper cylinder, containing the sham glass, 
 being on the table, the performer comes forward 
 with a bottle of stout and fills the tumbler. He 
 then takes up the cylinder and passes his wand 
 right through it, as if to prove that it has not 
 undergone any preparation, after which he places 
 it over the glass of stout. He then puts the glass, 
 still covered with the cylinder, into one of the 
 hats, with the remark "I will now cause the 
 tumbler to pass from one hat to the other," then, 
 as if struck with a sudden thought, changes his 
 mind, saying, "]N"o, perhaps it would be more 
 effective if I place the hats one over the other, 
 and pass the glass through the crown of the 
 uppermost one." Saying this he, apparently, 
 takes the tumbler, still under cover of the 
 cylinder, from the hat, and places it in the re- 
 quired position. Keally, however, the stout was 
 left behind, the cj^linder and counterfeit glass 
 alone being removed. 
 
 Now, in order to satisfy the spectators that the 
 stout is actually on the crown of the hat, the 
 performer lifts the cylinder and exposes the sham 
 glass, which every one believes to be the genuine
 
 fliieccUaneous Cricfts 175 
 
 article. The cover is then replaced and the 
 tumbler commanded to pass into the lower hat, 
 after which it is again raised, together with the 
 counterfeit, and the wand passed through it as 
 before. The hats are then separated and the 
 glass is produced from the lower one. 
 
 A Crystal Water Mystery. — Chemical 
 tricks, as a rule, do not meet with much favor at 
 the hands of professional conjurers. The reason 
 is pretty clear, as, in the ma- 
 jority of cases, the modus 
 operandi is too palpable. The 
 one here described, however, 
 owing to the number of 
 changes produced, is an ex- 
 ceptionally good one, and is 
 to be found in the repertoire 
 Fig. 41.— Water Trick of the leading performers of 
 the day. 
 Four empty glass tumblers, together with a 
 ^lass jug fall of water, are arranged on a tray as 
 shown in Fig. 41. 
 
 Water poured from the jug into — 
 !N'o. 1, is seen to be clear. 
 !N"o. 2, changes to stout. 
 lN"o. 3, is seen to be clear.
 
 176 /IRa^lc 
 
 ]^o. 4, again changes to stout. 
 
 Nos. 1 and 2 mixed equal stout. 
 
 Nos. 3 and 4 mixed equal water. 
 
 ]S"os. 1 and 2 put back into the jug give all 
 stout. 
 
 Nos. 3 and 4 put back into the jug give all 
 water, as at first. 
 The explanation, although by no means obvious, 
 is very simple. Glass No. 1 is perfectly clean. 
 1^0. 2 contains a small portion of pyrogallic acid, 
 about the size of a pea. l^o. 3 is prepared with 
 half a teaspoonf ul of sulphuric acid. No. 4 con- 
 tains the same quantity of pyrogallic acid as No. 
 2. The jug contains clear water, into which a 
 teaspoonful of sulphate of iron is dropped just 
 before the trick is commenced. The iron should 
 not be placed in the water until actually required 
 for use, as the solution changes rapidly to a 
 yellow color, in which condition it Avould not 
 very Avell pass for water. For the same reason 
 the jug should be removed immediately after the 
 trick. 
 
 Some performers prefer to use the following 
 chemicals in place of those enumerated above. I 
 will give them in the same order, and then the 
 magician may choose for himself. Glass No. 1, 
 as before, is quite clean ; No. 2 contains a few
 
 /iBlscellaneous tTrfcftg 177 
 
 drops of muriated tincture of iron ; Ko. 3, a tea- 
 spoonful of a saturated solution of oxalic acid ; 
 and Xo. 4 is prepared in the same manner as Xo. 
 2. A teaspoonf ul of tannic acid should be added 
 to the water in the jug prior to the commence- 
 ment of the experiment. 
 
 I myself always use the sulphuric acid, as I be- 
 lieve it produces the best result, but in the case 
 of a spill it is very dangerous, and on this account 
 the latter method is to be preferred. The 
 changes, in either case, are quite instantaneous, 
 hence the trick produces a most extraordinary 
 effect. 
 
 The Wizaed's Breakfast. — The magical 
 
 production of steaming hot coffee has always been 
 a favorite trick with the juveniles, especially 
 when the beverage is handed round for their con- 
 sumption, and various pieces of apparatus have 
 been designed for effecting this purpose. The 
 most up-to-date method, however, is the one here- 
 after described : 
 
 Two boxes, without lids, sizes about twelve 
 inches by eight inches by eight inches, usually 
 fitting one within the other for convenience in 
 traveling, and containing respectively cuttings 
 of blue and white paper, are introduced to the
 
 178 /IBagic 
 
 audience. Two pint goblets, in metal, are then 
 filled, one with blue and the other with white 
 paper from the boxes, after which they are cov- 
 ered with small silk handkerchiefs. On removing 
 the handkerchiefs the blue and the white papers 
 are found to have been transformed respectively 
 into hot coffee and hot milk. The performer then 
 pours a portion of each fluid into a breakfast cup, 
 and makes a motion as if throwing the w^hole 
 over the audience, when nothing 
 falls but a shower of blue and 
 white paper cuttings, every ves- 
 tige of the coffee and milk having 
 disappeared. 
 
 There are in reality four gob- 
 ets employed in the trick, two of 
 
 Fig. 42.— Trick which, containing the fluids, are 
 ^^ ^^ concealed in the boxes unknown 
 to the spectators. These two are provided with 
 shallow trays fitting loosely within them at the 
 top, each tray being filled with paper of the re- 
 quired color. (See Fig. 42.) 
 
 AVhen presenting the trick the performer comes 
 forward with the box containing the white paper, 
 and throwing a handful in the air, calls out, " Out 
 in the cold," which remark is perfectl}^ justifiable, 
 as the paper gives a faithful representation of
 
 Miscellaneous Zx\c\{6 
 
 179 
 
 falling snow. Placing this box on the table, and 
 taking up that containing the blue paper, he scat- 
 ters a handful over the stage with the remark, 
 *' This is the same as the white, only the wind 
 blue it." He now takes one of the goblets from 
 the table and appears to fill it with white paper, 
 but really, while in the box, an exchange is made 
 for the one containing the milk, which, owing to 
 the presence of the shallow tray, will appear to 
 be full of paper. This is then "covered with a 
 handkerchief, after which the second goblet is 
 treated in like manner. 
 The shallow trays 
 have each a piece of 
 wire projecting from 
 their upper edge to 
 enable the performer 
 to remove them under 
 cover of the handker- 
 chiefs. The handker- 
 chiefs are thrown in a 
 careless 
 
 Fig. 43.— Cup and Saucer 
 
 manner over 
 the sides of the boxes, into which, if sufficient 
 paper has been provided, the trays may be al- 
 lowed to fall. 
 
 The cup and saucer will next require our at- 
 tention. These are of metal in imitation of the
 
 180 USS^QiC 
 
 genuine article, the saucer being made double, 
 with a small hole in the centre of its upper side, 
 for a purpose that will presently appear. The 
 cup is provided with a perpendicular division 
 nearly in the centre, a small hole being drilled in 
 the bottom of that side next the handle. (See 
 Fig. 43.) 
 
 The front and larger side is filled with a mix- 
 ture of blue and wliite paper cuttings, and thus 
 prepared, together with the saucer, it is placed on 
 the table. When pouring the coffee and milk 
 into the cup the performer takes care that it goes 
 into the space provided with the small hole, 
 through which it immediately runs into the body 
 of the saucer. 
 
 It is usual to bring the trick to a conclusion by 
 apparently throwing the fluid over the audience 
 as already described, but should the performer be 
 provided with a number of small cups and a tray, 
 that portion of the beverage not used may be 
 handed round as refreshments. 
 
 The Hydrostatic Tube. This is a trick of 
 comparatively recent invention. It requires very 
 careful handling, and the performer must be pos- 
 sessed of almost superhuman nerve to present it 
 successfully to a critical audience. It produces.
 
 Miscellaneous ^rfcfts 181 
 
 however, a most extraordinary effect, and on this 
 account is to be recommended. 
 
 A piece of paper is placed at the bottom of a 
 glass tube or chimney used for gas, which is then 
 filled Avith water, while the top of the tube is 
 covered with a second piece of paper. The right 
 hand is then placed on the top paper and the 
 position of the tube reversed. The papers are 
 then, each in turn, removed, but the water does 
 not fall from the cylinder ; on the contrary, it 
 remains suspended without visible means of sup- 
 port. The papers are now replaced, and the top 
 one is pierced with a hatpin, when, on the pin 
 being withdrawn, the water at once falls into a 
 basin placed ready to receive it under the tube. 
 
 This surprising result is due entirely to a well- 
 known natural law, viz., the pressure of the at- 
 mosphere, and is nothing more nor less than a 
 modification of the old schoolboy trick of keep- 
 ing a glass of water inverted by means of a sheet 
 of paper. The new arrangement will, however, 
 require special explanation. 
 
 Each end of the cylinder is fitted with a glass 
 cap, grooved to fit into and over it at the same 
 time ; this is necessary to avoid slipping. The 
 ends of the tube, also the edges of the caps, must 
 be ground, so that the point of juncture shall be
 
 182 
 
 /IRagfc 
 
 air-tight. One of the caps has a small hole drilled 
 through the centre. (See Fig. 44.) 
 
 When about to present the trick the tT\^o glass 
 caps are laid on the bottoms of two upturned 
 tumblers, where they are quite invisible. The 
 performer then draws attention to Uyo square 
 pieces of paper, which he dips into the water 
 contained in the bowl, afterward laying them 
 down on the glass tumblers, and over 
 the glass discs. He next shows the 
 tube, passing his wand through it to 
 prove that it has not undergone any 
 preparation. Then taking one of the 
 papers, and at the same time secretly 
 securing one of the discs (not the one 
 with the hole in it), he places it at 
 the bottom of the tube, which is 
 forthwith stood on the palm of the 
 left hand. The tube is then filled 
 with water and covered with the re- 
 maining piece of paj^er and glass cap. 
 The position of the tube is then re- 
 versed, after which it is taken by the 
 centre and both papers are removed. The w^ater 
 will not run out from the small hole in the bot- 
 tom cap owing to the fact that no air can get in 
 at the top. The glass caps being absolutely in- 
 
 Fig. 44.— 
 
 Hydrostatic 
 
 Tube
 
 /lBl9ceUaneous tTrlcfts 183 
 
 visible, the water will now appear to be sus- 
 pended in the tube without any natural means of 
 support. 
 
 The papers are again placed on the ends of the 
 tube, where, being wet, they readily adhere. 
 The hands are now placed one on each end and 
 the tube is reversed ; this is necessary to bring 
 the cap with the hole in it to the top. The top 
 paper is then pierced with the hatpin, which, 
 passing through the hole in the cap, gives the im- 
 pression that there cannot be anything but the 
 paper covering the ends of the tube. When the 
 pin is withdrawn the air rushes into the tube, 
 and, as a natural consequence, the paper and disc 
 fall from the bottom, liberating the water. The 
 bowl should be half full of water when the cap 
 falls, to avoid fracture of the glass. The cap is 
 then brought away from the top of the tube un- 
 der cover of the piece of paper, and both are 
 dropped into the bowl, when the tube can be 
 once more given for examination. 
 
 The Hydrostatic Tumbler. — This trick, 
 which is similar in principle to that immediately 
 preceding it, is preferred by some as being less 
 cumbersome ; it is also easier to work and conse- 
 quently entails less anxiety on the part of the
 
 184 
 
 /IRa^fc 
 
 performer. The effect, however, although pretty, 
 is not quite so startling. 
 
 The necessary apparatus consists of a glass 
 tumbler with a small hole drilled in the side one 
 inch from the bottom, the mouth of which must 
 be fitted with a glass cap in the same manner as 
 the tube in the preceding trick. (See Fig. 45.) 
 
 The performer having 
 drawn attention to the 
 tumbler, also a small piece 
 of paper, dips the latter 
 into a bowl of water, and 
 lays it down over the 
 glass cap. The tumbler, 
 held with the thumb cov- 
 ering the small hole, is 
 then filled with water 
 from the bowl, and cov- 
 ered with the piece of 
 paper under which, un- 
 known to the audience, is 
 the glass disc. The glass 
 is then inverted and the 
 paper withdrawn, the 
 water remaining sus- 
 pended without visible means of support. 
 The tumbler can now be turned about in any di- 
 
 Fig. 45. — Hydrostatic 
 Tumbler
 
 /!C>i6ceUaneou5 Crlcfts 185 
 
 rection, without the least fear of the water escap- 
 ing, so long as the thumb is kept over the small 
 hole in its side. It can also be stood on the table, 
 the hand being removed entirely ; the water can- 
 not escape through the small hole owing to the 
 presence of the cap. 
 
 The tumbler is once more raised and inverted, 
 when the performer undertakes to cause the 
 water to fall at any given number counted by the 
 audience. This last effect, which adds considera- 
 bly to the trick, is brought about by very simple 
 means ; all the performer has to do is to remove 
 the thumb covering the small hole, when the air 
 rushes in and causes the disc to fall. The bowl, 
 as before, should be half full of water, to provide 
 a cushion for the falling disc, which under these 
 circumstances will not be injured, nor its pres- 
 ence detected. 
 
 Papee Cone, Watch, Eabbit, and Boxes. — 
 
 The effect of this excellent stage trick is as fol- 
 lows : A watch is borrowed and dropped into a 
 conical paper bag held by one of the spectators. 
 The performer then loads the magic pistol with 
 a small silk handkerchief ; this he fires in the di- 
 rection of the bag, after which the bag is opened 
 and found to contain the handkerchief, the watch
 
 186 
 
 /IRaafc 
 
 having disappeared. Attention is next drawn to 
 a box, which has been hanging over the head of 
 the performer from the commencement of the 
 entertainment, and which on being opened is 
 found to consist of a nest of six boxes, the small- 
 est of which contains a rabbit with the borrowed 
 watch tied round its neck. 
 
 The main 
 secret of the 
 trick lies in 
 the paper bag, 
 which is really 
 double, con- 
 sisting of two 
 pieces of pa- 
 per gummed 
 Fig. 46— Paper Cone together round 
 
 the edges, the corner of one piece being removed, 
 as in Fig. 46. 
 
 At the commencement of the trick a small silk 
 handkerchief is hidden between the two pieces of 
 paper. When making the bag it must be so ar- 
 ranged that the corner at which is the opening is 
 at the top. Under cover of the point of the bag 
 the handkerchief is removed from its j^lace of 
 concealment and dropped into the bag proper, 
 the double side being immediately pulled over to 
 
 
 /■•■-- / 
 
 
 
 ^ 
 
 r 
 
 
 ,^s=~ 
 
 ^ 
 
 
 
 -" 
 
 ^ 
 
 \ 
 
 
 
 f 
 
 x 
 
 
 
 
 \ 
 
 
 
 
 -.... 
 
 
 
 
 *--.. 
 
 
 
 
 ••-.^^ 
 
 \, 
 
 Jrf. 
 
 
 "~-.., 
 
 
 ~ 
 
 
 '*-• 
 
 
 X 
 
 f 
 
 > 
 
 "*" ■ 
 
 
 
 
 
 "'''•
 
 Miscellaneous Cricfts 187 
 
 the opposite side of the bag to again conceal the 
 handkerchief. If the bag is well made, and this 
 side well creased over, a casual glance into its in- 
 terior Avill reveal nothing suspicious. In this con- 
 dition the bag is given to a spectator to hold, and 
 he is then requested to drop the watch into it, 
 which he does, as he thinks, into the bag proper, 
 but really the watch falls into the position pre- 
 viously occupied by the handkerchief. The top 
 of the bag is then folded over. 
 
 The performer now loads a duplicate handker- 
 chief into the pistol, and, having disposed of it in 
 the usual way, fires in the direction of the bag. 
 He then unfolds the bag and shakes out the 
 handkerchief, being careful to hold the watch so 
 that it does not fall at the same time. He then 
 crumples up the paper in his hands, and in the 
 act of doing so tears out the watch, which is 
 forthwith palmed, the paper being thrown away. 
 
 The box, which should be suspended with two 
 cords over pulleys, is then lowered ; and when 
 taking it in his hands to place it on the table the 
 performer is able to secretly attach the watch to 
 a swivel hook which is hanging on the side most 
 remote from the audience. This swivel hook is 
 attached to the ribbon round the rabbit's neck, 
 the arrangement being as follows : — The ribbon
 
 188 /Iftagfc 
 
 is tied round the rabbit, which is then placed in 
 the smallest box, the ribbon being allowed to 
 hang outside the box when the lid is closed. The 
 box is then placed in the next larger one, the rib- 
 bon still being allowed to hang outside. This is 
 continued until the ribbon is left hanging on the 
 outside of the last box. 
 
 The solution will now be clear. As the boxes 
 are removed one after the other the watch is 
 suspended behind that last exposed ; and w^hen 
 the rabbit is taken out it will be impossible to 
 tell that the watch was not actually removed 
 from the same box. 
 
 The Magical Production' of Flowers. 
 — Whenever possible, it is always best to lead up 
 to an elaborate trick with a succession of smaller 
 illusions of the same nature. This is well illus- 
 trated in the *' Marvelous production of Flowers," 
 which in good hands is a most pleasing and mys- 
 terious experiment. Flower tricks always take 
 well, especially with the feminine part of the au- 
 dience, and ambitious amateurs should strive to 
 have at least one good illusion of this character 
 on their programmes. The magician comes for- 
 ward, with the announcement, " Ladies and 
 gentlemen, I notice that in my hurry I have
 
 /Rlscellaneous ^ricfts 189 
 
 neglected to provide myself with the customary 
 bottonhole bouquet, but, fortunately, I have here 
 a quantity of magic seed capable of producing a 
 rose garden if required." Show a small box, 
 which is supposed to contain the seed, while in 
 reality it is empty. " You see I have only to 
 place a single seed here in my buttonhole and 
 after breathing on it a moment, to supply the 
 necessary heat, I touch it with my wand and in- 
 stantly^ we have a beautiful rose. ISTow, if some 
 gentleman will kindly loan me a silk hat for a 
 moment, I will show you a method by which 
 bouquets may be produced while you wait. I 
 only have to place the hat over this glass goblet, 
 which, you see, is Cjuite free from deception, and 
 here we have a handsome bouquet." Eemove 
 the hat and find the goblet still empty. " How 
 is this ? Ah, I remember now, I neglected to 
 put any of the magic seed in the goblet. I will 
 just put in a pinch of various kinds and try 
 again." Place hat over the glass again and in- 
 stantly raise it, and discover a large bouquet. 
 ^' You perceive the seed acts instantaneously." 
 
 While saying this brush the hat carefully and 
 walk down as if to return it, still holding the box 
 of seed. Once among your audience you exclaim, 
 '• What is that ? You don't believe me ? Why?
 
 190 /IRagic 
 
 see here ; b}^ just putting a pinch of the seed into 
 this hat and breathing on it, thus, I will produce 
 bouquets for all present." Show hat nearly full 
 of small bouquets and distribute them. Then re- 
 turn hat saying : " I thank you, sir, for the use 
 of your hat, which seems particularly^ fitted for 
 raising flowers." 
 
 Now for the explanation : — To pi^epare for pro- 
 ducing a flower in the buttonhole, take a piece of 
 black elastic cord about a foot in length and put 
 one end of it through the centre of an artificial 
 rose, from which the stem has been removed, 
 knotting the end to keep it from slipping through. 
 Pass the other end through the buttonhole, also 
 through a small hole made in the coat just be- 
 hind the buttonhole, and then down and fasten to 
 the suspender button on the back of your trousers. 
 Draw the flower away from the buttonhole and 
 conceal it under the left armpit, and as you touch 
 the spot with the wand raise the left arm slightly, 
 freeing the flower, which will instantly fly to the 
 buttonhole. 
 
 After borrowing the hat place it over the glass, 
 as above, and after removing let the brim rest on 
 the table a second while looking at the glass. 
 During this brief time slip your finger into the little 
 cardboard tube which serves as a handle to the
 
 /Bbiscellaneous ^ncfts 
 
 191 
 
 bouquet, which lies on the shelf at the back of your 
 table and just beneath the hat. By closing the 
 fingers the bouquet is brought into the hat. (See 
 fig. 4:7). This takes only a fraction of a second, 
 and as all are looking for the bouquet in the 
 
 Fig. 47. — Production of Flowers 
 
 glass the movement is entirely invisible. As soon 
 as the hat is " loaded " raise it quite a distance 
 above the table and hold it there while you pre- 
 tend to put the seed in the glass. As soon as the 
 boucjuet is shown in the glass, let the hat rest on 
 the table as before, and introduce the small bou-
 
 192 
 
 ^adic 
 
 quets, which are tied together with a weak thread 
 and are provided with a tube like the large bou- 
 quet. When you appear to put the seed in the 
 hat, break the thread and shake up the bouquets 
 loosely, and they will nearly fill the hat. Of 
 course you must keep your eyes fixed on the 
 
 Fig. 48. — Production of Rose-Bushes 
 
 goblet while loading the hat, and never allow 
 yourself to glance toward the left hand which 
 holds the hat, as that would give your audience 
 a hint that something was going on in that quar- 
 ter. 
 
 "We now come to the production of rose-bushes
 
 flbl0ccllaneou0 ^ricfta 193 
 
 from flower-pots which contain nothing but a 
 small quantity of white sand. It is Kellar's most 
 famous illusion. Two small tables, draped within 
 a foot or more above the floor, are seen on the 
 conjurer's stage. On each table is a miniature 
 stand on which are flower-pots, (Fig. 48). After 
 the pots have been examined by the spectators, 
 the performer places them on the stands, and 
 plants seeds in them. A pasteboard cone, open at 
 both ends, is exhibited, and placed for a second 
 over flower-pot No. 1. When it is removed a 
 green sprig is seen, which the magician declares 
 has just sprouted. He then places the cone over 
 flower-pot E'o. 2. Eemoving it a full grown rose- 
 bush appears, covered w^ith buds and roses in full 
 bloom. A second rose-bush is then produced 
 from flower-pot No. 1. The roses are culled and 
 presented to the ladies in the audience. The fol- 
 lowing is an explanation of the trick : 
 
 The tables are open at the back, the drapery 
 not extending completely around them. At- 
 tached to the leg of each table is a small shelf, 
 which is of course concealed by the drapery, 
 (Fig. 49). The bushes are stumps, to the branches 
 of which are tied the roses. Each bush has as a 
 base a circular piece of lead, which fits into the 
 flower-pot. The bushes are suspended inside of
 
 194 
 
 /DSadtC 
 
 cones, (Fig. 49 a) which are placed on the secret 
 shelv^es above described. The performer covers 
 the first pot with the cone in his hand, and drops 
 from his palm the green sprig which sticks into 
 the sand. As attention is being called to the 
 sprout, the magician drops 
 the empty cone, just 
 shown, down behind the 
 table over the prepared 
 cone and rose-bush and 
 brings them up under 
 cover. The loaded cone 
 fits closely into the 
 empty one, but as an ad- 
 ditional security is held 
 in place by the fingers 
 of the performer. He 
 goes to the second table 
 and places the cone over 
 the flower-pot. The rose- 
 bush is allowed to drop 
 Fig. 49.— Table for Flower into the pot, the thread 
 ^^^^ which fastens it having 
 
 been detached. The bush is now shown. As 
 soon as the cone is removed the hand naturally 
 and carelessly drops behind with it over the next 
 prepared cone on the shelf, and the performer
 
 flSfsccUaneous Criclis 
 
 195 
 
 produces a rose-bush from the first flower-pot. 
 He now has three cones, one inside of the other. 
 To facilitate the picking up of the cones in suc- 
 cession the back part of each table top is cut out 
 in crescent shape. 
 
 Magic Incubation. — To produce a quantity 
 of eggs from an empty handkerchief is a favorite 
 
 Fig. 50. — Magic Incubation 
 
 experiment with magicians. It is a modification 
 of the old egg-bag trick, but far more effective 
 and but little known. The materials used are 
 easily procured : — a blown egg, to which is at- 
 tached a piece of thread, and a silk handkerchief. 
 Fasten the egg to the handkerchief by means of
 
 196 /llbaQfc 
 
 the thread, as shown in Fig. 50. Spread out the 
 handkerchief, when exhibiting the trick, and 
 show that both sides are free from preparation. 
 To do this 3^ou must keep the egg concealed 
 in your right hand, and at the moment let 
 it fall in the position depicted in the illustra- 
 tion, (Fig. 50). The thread will hold it in the 
 centre of the handkerchief. But remember to 
 keep the handkerchief waving slightly, other- 
 wise the impact of the falling egg against it 
 might betray the secret of the trick. It is hardly 
 necessary to say that the " egg-side " of the hand- 
 kerchief is turned toward yourself. Explain to 
 the audience that you are going to magically pro- 
 duce an egg. Take the right hand corner of the 
 handkerchief in your mouth and hold the left 
 corner with your left hand. ]S"ow place the fore- 
 finger of the right hand against the upper part 
 of the handkerchief, the side facing yourself, and 
 fold the handkerchief over, grasping the two 
 upper corners with your left hand. Next hold 
 the lower corners with your right hand and bring 
 the handkerchief to a horizontal position. Tilt 
 one end of it over a hat and an egg will be seen 
 to fall, (Fig. 51). Shake out the handkerchief 
 and repeat the above described operation of pro- 
 ducing eggs until the hat is apparently full,
 
 /fciscellaneous Cricfta 
 
 197 
 
 after which you may turn it over and show it 
 empty. This trick neatly executed never fails 
 to elicit well deserved applause from the audience. 
 Perhaps a better way to conclude the trick would 
 be to show that the hat really contained a num- 
 ber of eggs, which of course must be loaded into 
 
 Fig. 51.— Incnbation Trick 
 
 it prior to commencing the trick. The best way 
 to do this is to have the eggs in a black silk bag 
 which you conceal inside your vest. After hav- 
 ing borrowed the hat and while your back is 
 turned to the spectators during your journey to
 
 198 OsnQic 
 
 the stage, slip the bag full of eggs into the 
 hat. Then begin your handkerchief feat. It 
 is a weak point, in my opinion, to show the hat 
 empty, after having apparently placed so many 
 eggs into it. Some acute spectator is apt to 
 jump to the conclusion that there was but one 
 egg used during the experiment. 
 
 The Wizard's Omelet. — The recipes for 
 making a magical omelet are numerous and varied. 
 Some magicians produce the eggs from the mouth 
 of a negro assistant following the example of Alex- 
 ander Herrmann, and make the omelet in a bor- 
 rowed hat. I once saw a clown in a French circus 
 produce an omelet in a small frying-pan, without 
 using eggs at all — or more properly speaking, 
 without the apparent use of eggs. He stirred his 
 wand about in the pan, holding the latter over a 
 spirit lamp, and presently turned out into a dish 
 an excellent omelet, smoking hot and very pala- 
 table. He cut up the omelet and passed it around 
 among the audience. Those who partook of it 
 pronounced it to be delicious and worthy of the 
 chef of the Hotel Grand. This is the way the 
 trick is accomplished : There is no preparation 
 about the frying-pan ; that is all fair and square, 
 as well as round. It may be examined by the
 
 /BM6Ccllaneou6 Q:ricft6 199 
 
 spectators ad libitum. Xot so the magic wand, 
 which is hollow and filled with the contents of 
 several eggs. One end of the wand has an open- 
 ing which is stopped up with a piece of butter. 
 When the pan is heated the butter melts and the 
 beaten-up eggs run out of the wand and are 
 speedily metamorphosed into an omelet. The 
 stirring of the pan with the wand, supposed to 
 be a part of the conjurer's performance, is really 
 necessary to the trick. The wand is usually 
 made of tin. It must be an exact imitation of 
 the wooden wand used during the course of the 
 entertainment. 
 
 The Woi^DERFUL Peoductictt of Eibbons 
 AT THE FiXGER-TiPS. — This is an excellent 
 little trick and one very suitable as an introduc- 
 tion to a complete " production" trick, where ob- 
 jects of ever-increasing size, in a compressed con- 
 dition, are produced under cover of similar ob- 
 jects, of a smaller size, but displayed to the best 
 advantage. The performer having shown both 
 hands unmistakably empty, commences to pull 
 yard after yard of real colored silk ribbon from 
 the extreme tips of the fingers. 
 
 The secret depends upon the little accessory il- 
 lustrated in Fig. 52. This is a shield made to fit
 
 200 
 
 as^Qic 
 
 the second finger of the right hand, provided 
 with a lid to keep the four coils in position, also 
 with a corresponding number of slots on the 
 front through which the ribbon may be with- 
 drawn. Each piece of ribbon 
 should be about two yards long 
 and of a width to readily pass 
 the slot. Kibbon drawn from the 
 apparatus when in position, see 
 Fig. 53, will seem to come from 
 the finger-tips. 
 
 After a quantity of ribbon has 
 been produced in this manner, the 
 magician may very well bring out 
 a larger supply from his vest 
 under cover of gathering up the mass 
 of material. An excellent winding up 
 of the trick would be the production of 
 a dove from breast pocket. 
 
 Fig. 52.— The 
 Accessory 
 
 Japattese Bird Vanish. — The old 
 Mouchoir du Diable, or Devil's Hand- 
 kerchief, for vanishing small objects ^jg 53 
 will be known to the majority of my Production 
 readers : at the best it was but a clumsy 
 expedient for producing a magical disappearance, 
 and on that account was very little, if ever used.
 
 flbtsccllaneous G^tlcfts 
 
 201 
 
 The Xew Devil's Handkerchief, as used by 
 Japanese conjurers to cause the disappearance of 
 a bird, Avill, on the contrary, I feel sure, be found 
 of practical utility to the magical fraternity. In 
 practice it is merely held by the four corners, 
 ostensibly in the most careless manner possible, 
 and any object as an egg, ball, orange, bird, etc., 
 dropped into the bag thus formed instantly dis- 
 appears, the handkerchief being immediately 
 shaken out and both sides shown. 
 
 This seeming prodigy 
 is thus explained. — Two 
 handkerchiefs, preferably 
 of soft silk and rather 
 large (neck handkerchiefs 
 for instance), are sewn 
 all round their 
 with the excep- 
 tion of a portion at one 
 corner as shown by the 
 dotted lines in Fig. 54. The handkerchiefs are 
 also sewn together from the said corner to the 
 centre as further indicated by the dotted lines in 
 the figure. A bag is thus formed into which the 
 object is actually dropped. The introduction of 
 the object into the bag is facilitated by the in- 
 sertion of a couple of whalebone strips in the silk 
 
 together 
 edges 
 
 Fig. 54. — Bag for Yanishing
 
 202 iKSUQiC 
 
 at the mouth of the bag. These strips keep the 
 mouth of the bag closed until pressure be applied 
 at their ends, when the bag will open, receive the 
 object, and, on the pressure being removed, will 
 close again, keeping all secure. 
 
 New Fire Trick. — The writer is indebted 
 to Mr. Martinka for this novel experiment. A 
 thin glass tube, in the end of which is secured 
 a small piece of metallic potassium, is pasted 
 between two pieces of tissue paper. So pre- 
 pared the paper is shown from both sides, 
 being apparently a plain piece of white paper. 
 This is rolled into a cylinder, not unlike an 
 exaggerated cigarette. The performer opens 
 his mouth to show that nothing is concealed 
 there, and then proceeds to blow through the 
 paper tube, when the far end bursts into a flame 
 of more or less intensity. 
 
 Explanation. — While pretending to blow 
 through the paper cylinder, the performer brings 
 some saliva into the glass tube. When blown 
 through the tube, the saliva comes in contact with 
 the potassium, which ignites and sets fire to the 
 paper. To produce a larger flame and sparks, a 
 small piece of gun cotton, sprinkled with powdered
 
 flbf0cellancou0 tlrlcfts 203 
 
 aluminum can be placed near the end of the tube. 
 The potassium metal has to be kept in a bottle 
 and covered with kerosene. Whenever required 
 for the trick a piece is cut off with a knife. Care 
 must be taken not to make the mistake of putting 
 the wrong end of the tube in the mouth. When 
 the paper bursts into flame it is crumpled into a 
 ball and dropped on a plate. The thin glass tube 
 is crushed into small bits by the above operation, 
 and is not seen by the audience. 
 
 The Eixg On The Wand. — A very pretty 
 and graceful parlor trick is the ring on the wand. 
 Suspend a plain gold ring to the centre of a hand- 
 kerchief by means of a short piece of silk thread. 
 Come forward with the handkerchief in your 
 pocket, and borrow a ring as much like your own 
 as possible. Pretend to wrap up this ring in 
 jour handkerchief, but substitute for it the fake 
 ring. Give the handkerchief with ring in it to 
 some one to hold and ask him if he still feels the 
 ring contained therein. He will reply in the 
 affirmative. You now get your wand from a 
 table. While doing this take the opportunity to 
 slip the borrowed ring which you have in your 
 hand over one end of the wand, keeping it con- 
 cealed. Approaching the individual who holds
 
 204 /nba^fc 
 
 the handkerchief request him to place it over the 
 middle of your wand which you hold horizontally 
 by its centre, having slid your hand (with the 
 concealed ring) along its smooth surface. Now 
 request two spectators to hold either end of the 
 wand tightly. Explain that you will cause the 
 ring in the handkerchief to appear upon the 
 wand, despite the fact that the latter is firmly 
 held by two persons. Remove your hand from 
 the wand and take hold of the handkerchief. 
 With a hey presto, give the handkerchief a quick 
 jerk and shake it out. The borrowed ring on the 
 wand will spin around in lively fashion, as if it 
 had really left the handkerchief and by some 
 magical means appeared upon the wand. Your 
 handkerchief with the fake ring attached must 
 be pocketed as speedily as possible. It might be 
 well to borrow a plain white handkerchief from 
 some one in the audience and exchange it for 
 your prepared handkerchief. 
 
 Disappearing Glass of Water. — This 
 clever illusion is a favorite with many perform- 
 ers, and is particularly adapted to drawing-room 
 entertainments. It was invented by Colonel 
 Stodare, originator of the famous " Sphinx " trick. 
 Since Stodare's time many improvements have
 
 /Ibiscellancous ^ricfte 
 
 205 
 
 been made in it, one idea, emanating from the 
 fertile brain of Dr. Elliott. Stitch two silk hand- 
 kerchiefs, preferably of a dark color, together in 
 
 the manner shown 
 in the diagram (Fig. 
 55), having first in- 
 serted in the trian- 
 gular space between 
 them a disc of thin 
 tin, of the same di- 
 ameter as the mouth 
 of the glass used. 
 Now to the middle 
 
 Fig. 55. — Silk Handkerchief 
 
 of the under surface 
 of the tin fake solder 
 a little band of tin 
 just large enough to 
 snugly fit over the 
 tip of the second or 
 index finger of your 
 left hand, (Fig. 56). 
 This constitutes 
 Elliott's improve- 
 ment. Exhibit the 
 handkerchief to the 
 spectators, calling attention to the fact that it 
 contains nothing. Twist it rope fashion, and pull 
 
 Fig. 56. — Fake on Finger
 
 206 
 
 Abadic 
 
 it through your left hand, thereby demonstrating 
 that nothing could possibly be concealed in it. 
 This you are enabled to accomplish by grasping 
 the tin fake and retaining it in the right hand. 
 Finally shake out the handkerchief, releasing the 
 disc, which will now fall to the centre of the 
 handkerchief and be kept in position by the trian- 
 gular stitching. At the rear end of your table 
 
 you have a glass 
 filled with wa- 
 ter. Spread the 
 handkerchief 
 over the glass, 
 bringing the tin 
 shape over the 
 mouth of the 
 same. Lift up 
 the fake, and 
 under cover of 
 the handker- 
 chief lower the glass upon the shelf behind the 
 table. The handkerchief, distended by the tin 
 disc, will present the appearance of having the 
 glass of water under it. 'No^y step forward as 
 though holding the glass of water. Place the left 
 hand beneath the handkerchief, and quickly insert 
 the index finger into the little band soldered be- 
 
 Fig. 57. — Handkerchief in Position
 
 flblscellaneous bricks 207 
 
 neath the disc, the right hand bearing do^vn at the 
 time to facilitate matters. To an audience it will 
 seem that you hold the glass of water on the palm 
 of your left hand, presenting a very illusory appear- 
 ance indeed, (Fig. 57). To vanish the glass com- 
 pletely all you have to do is to catch one corner 
 of the handkerchief with your right hand, give it 
 a sudden flick in the air, which releases the hold 
 of the finger of the left hand, when lo and be- 
 hold I the glass of water has melted away. To 
 reproduce it, take a duplicate glass of water from 
 your coat-tail pocket. " But ! " says the dubious 
 reader. Ah, we are coming to that ! There is 
 no danger of spilling the water, for the mouth of 
 your glass is tightly closed with a rubber cover. 
 All you have to do is to remove the cover before 
 exhibiting the glass. 
 
 Anti-Geavity WAXD.—The use of the wand 
 has been sufficiently explained to the student. In 
 calling attention to the fact of its being endowed 
 with peculiar properties, similar to the magic 
 wand of Bulwer's "Coming Eace," the conjurer 
 might execute a few tricks with it as a prologue 
 to his programme. The " Anti-gravity wand," 
 invented by that clever magician, Dr. Elliott, 
 would prove useful in the above instance, (Fig.
 
 208 /IBaflfc 
 
 58). It consists of a piece of brass tubing made 
 
 to correspond with the performer's ordinary wand 
 
 but with square ends. In one end of this tubing 
 
 is inserted a cylindrical lead weight made to fit 
 
 nicely. At each end of the weight is glued a 
 
 piece of felt, so as to prevent noise while the 
 
 fake is working. With this trick wand you can 
 
 apparently defy the law of gravity. It is divided 
 
 —^.^ . internally into three 
 
 compartments, two 
 
 small ones at either end, 
 
 and a larger one in the 
 
 centre, by means of the 
 
 partitions, which do 
 
 not, however, extend 
 
 „. ^^ . . ^ . „r . completely across the 
 Fig. 58.— Anti-Gravity Wand \ / 
 
 wand. A quantity of 
 
 quicksilver is inserted in the wand and the ends 
 sealed up. In the normal condition, this will re- 
 main in the central space, but if the wand is tilted 
 either way, the mercury will flow into the little 
 pocket at the lower end. Should this end be laid 
 upon the table, the weight of the fluid metal would 
 more than counterbalance the remaining portion 
 of the wand, and it would therefore be suspended 
 apparently in space. By reversing the wand, the 
 other end would perform a like phenomenon.
 
 CHAPTER X 
 
 STAGE TEICKS 
 
 This is a chapter devoted to stage illusions, de- 
 pendent mainly for their effects upon ingenious 
 mechanical appliances, and not to skilful manip- 
 ulation of the performer. Most conjuring exhi- 
 bitions conclude with some large illusion. They 
 add zest to the entertainment. One of our lead- 
 ing conjurers, Kellar, makes a specialty of them. 
 He presents them with fine scenic effects. 
 
 Aerial SrsPEXSio:N-.— The trick of the aerial 
 suspension, presented by Herrmann under the 
 name of the " Slave Girl's Dream," has been, and 
 still remains a great favorite with many con- 
 jurers. In this experiment a lady floats in the 
 air with no apparent support but that afforded 
 by a pole upon which her right arm rests. While 
 suspended in this fashion she is draped in various 
 pleasing costumes, finally awakening from her 
 pretended mesmeric trance under the passes of 
 the magician, and bowing herself off the stage. 
 
 209
 
 210 
 
 /IBagfc 
 
 The explanation is as follows : — The lady's body 
 is encased in a strong framework of finely tem- 
 pered steel, into a socket of Avhich the pole en- 
 ters and is rigidly fixed. 
 
 Figure 59 very correctly represents the harness 
 worn by the lady in per- 
 forming this trick and the 
 manner in which it is at- 
 tached to the rigid pole. 
 This frame is composed of 
 the finest steel, and when 
 belted and strapped on the 
 body makes it perfectly 
 rigid, so far as any side 
 motion is concerned. At 
 A is a hinge, which is 
 operated by ratchet and 
 paul, and this bears nearly 
 the whole strain of the 
 lady's weight, which, in 
 
 a horizontal position, is 
 Fig. 59.-The Harness ^^^^^ ^^^^^ ^^^^^^^ ^^ 
 
 about ten times the actual weight. At the 
 centre of the curved steel bar is a plain hinge. 
 This is intended to allow the lady to use her 
 right thigh and knee in walking on and off the 
 stage.
 
 stage c:rlch0 
 
 211 
 
 ^^-^ 
 
 Figure 60 shows the position of harness and 
 poles after being adjusted, the drapery being dis- 
 pensed with in order to show the working of 
 the trick. The upright pole on which rests the 
 lady's right hand is a substantial affair, and is 
 securely fitted 
 into a hole in 
 the platform. 
 On the top there 
 is a hole, into 
 which fits a 
 stout slot in the 
 short bar, as 
 shown in Fig. 
 59. This short 
 bar is concealed 
 by a sort of flap, 
 which appears 
 to be a portion 
 of the lady's 
 costume, tacked 
 on at the shoul- 
 der. The pole 
 with the trick. 
 
 Fig. 60. — Harness Adjusted 
 
 at her left has nothing to do 
 and is only introduced to dis- 
 tract the attention of the audience. The left- 
 hand pole and stool are removed, and the beauti- 
 ful slave girl is suspended, as shown in Fig. 61,
 
 212 
 
 mnQic 
 
 the whole strain (?Dming on the pole and the steel 
 work of the harness. 
 
 The performer now lifts the lady into a hori- 
 zontal position (Fig. 61), where she is maintained 
 
 by a check which drops 
 into one of the teeth 
 of the ratchet at A. 
 While in this aerial 
 sleep she is adorned 
 in various costumes. 
 Finally she is placed 
 in the first position, 
 and awakes from her 
 supposed mesmeric 
 slumber. Herrmann 
 improved this appa- 
 ratus by causing the 
 lady to assume the 
 horizontal position 
 without his interven- 
 tion. This was ac- 
 complished by machinery beneath the stage, a 
 sort of windlass affair worked by a stage as- 
 sistant. The well-known Fakir of Ooloo still 
 further improved this trick by knocking both 
 poles away. Says Arprey Yere on this subject : 
 "What, then, will you ask, becomes of all the 
 
 Fig. 61. — Girl Suspended
 
 Sta^e ^ricfts 213 
 
 machinery ? The two poles were seemingly taken 
 away. The poles used consisted of brass bars. 
 The calcium light beamed upon the figure of the 
 
 Fig. 62.— Girl in Horizontal Position 
 
 sleeping lady, while the rest of the stage was 
 comparatively dark. Thus, when the conjurer 
 apparently took away the only support the figure
 
 214 ^agic 
 
 had, the audience did not and could not perceive 
 that he really took away the brass case of the se- 
 cured pole, leaving another, the actual pole on 
 which the framework was fixed, and which was 
 of the same color as the drapery of the stage. It 
 was for the purpose of deceiving the eyes of the 
 audience that the pole was encased in a brass 
 shell in the first instance. He refixed the case 
 before the stage was relit, and the lady woke up 
 from her sham mesmeric trance." 
 
 Kew Vanishing Performer Illusion. — 
 The writer is indebted to Mr. William E. Kob- 
 inson, for many years assistant to the late Alex- 
 ander Herrmann, for this simple but remarkably 
 ejffective illusion called by him the " Vanishing 
 Performer." The effect of the trick is as follows : 
 The performer standing upon a stool, placed in 
 front of a screen, holds up a shawl in front of 
 himself. Hey presto ! a pistol is fired, the shawl is 
 dropped, and the magician is seen to have melted 
 away into thin air, as it were. Presently he 
 comes running down the centre aisle of the 
 theatre. 
 
 The principal requisite in the arrangement of 
 this trick is a large screen, which should be dec- 
 orated in panels on each fold, and be a threefold
 
 stage Zxic}\3 215 
 
 ono. In the centre fold the panel must be hinged, 
 so as to open, and made to fit nicely the better 
 to conceal its existence from the audience. This 
 panel must be about twelve inches above the 
 base of the screen, and if possible have spring 
 hinges. This screen should be preferably of a 
 dark color. 
 
 When the magician steps on the stool he out- 
 stretches his arms and hooks the shawl on a fine 
 thread, which is placed across the stage at the 
 right height. lie leaves the shawl suspended so 
 that the end^ hang over, giving the appearance 
 of the perfotHier's fingers being under them. 
 Under this cover he quickly steps off the stool 
 and goes through the panel in the screen at the 
 back. As the shawl does not reach to the ground, 
 the performer's legs and shoes would be seen by 
 the audience. To obviate this a piece of stuff the 
 same color as the screen is used as a kind of car- 
 pet on which the affair takes place, and when this 
 reaches to about twelve inches from the screen, 
 the edge is turned up about twelve inches. The 
 conjurer in getting off the stool steps dow^n be- 
 hind this carpet. A pistol is fired, and the per- 
 former, or his assistant, pulls the end of the 
 thread, which thus breaks and causes the shawl 
 to drop, as if first let go from the hands. The
 
 216 USS^QiC 
 
 shawl should be about six feet square. It should 
 rest about nine inches from the stage when hung 
 up. Practice to let as few seconds as possible 
 elapse between the moment of suspending the 
 shawl and dropping it. The reappearance of the 
 performer is easily accounted for. 
 
 The Blue Eoom. — One of the cleverest illu- 
 sions performed with the aid of mirrors is that 
 known as the " Blue Eoom," which has been ex- 
 hibited in this country by Kellar. It is the joint 
 invention of Prof. John Henry Pepper, of Ghost 
 illusion fame, and James J. Walker, both of Eng- 
 land. It was patented in the United States by 
 the inventors. The object of the apparatus is to 
 render an actor, or some inanimate thing, such as a 
 chair, table, suit of armor, etc., visible or invisible 
 at will. " It is also designed," says the specifica- 
 tion in the patent office, " to substitute for an ob- 
 ject in sight of the audience the image of another 
 similar object hidden from direct vision without 
 the audience being aware that any such substitu- 
 tion has been made. For this purpose employ 
 a large mirror — either an ordinary mirror or for 
 some purposes, by preference, a large plate of 
 plate-glass — which is transparent at one end, and 
 more and more densely silvered in passing from this
 
 stage Zxic\{B 
 
 217 
 
 toward the other end. Mount this mirror or 
 plate so that it can, at pleasure, be placed diago- 
 nally across 
 the stage or 
 platform. 
 As it ad- 
 vances the 
 glass ob- 
 scures the 
 view of the actor 
 or object in front 
 of which it passes, 
 and substitutes 
 the reflection of 
 an object in front 
 of the glass, but 
 suitably con- 
 cealed from the 
 direct view of 
 the audience. 
 
 '^ When the two 
 objects or sets of 
 objects thus suc- 
 cessively pre- 
 sented to the view are properly placed and suffix 
 ciently alike, the audience will be unaware that 
 any change has been made. In some cases, in 
 
 Fig. 64. — Diagram for Blue Room
 
 218 ^aglc 
 
 place of a single sheet of glass, two or more 
 sheets may be employed. 
 
 "In the drawings, Fig. 63 represents a plan 
 view, and Fig. 64 an elevation, of a portion of 
 the mirror, designed to show its graduated 
 opacity. 
 
 " « is a stage. It may be in a lecture-room or 
 theater, h h are the seats for the audience in front 
 of the stage. <? c is a small room — eight or ten 
 feet square and eight high will often be suf- 
 ficiently large ; but it may be of any size. It 
 may advantageously be raised and approached by 
 two or three steps from the stage a. 
 
 "(^ is a vertical mirror, passing diagonally 
 across the chamber c and dividing it into two 
 parts, which are exact counterparts the one of 
 the other. The mirror d is so mounted that 
 it can be rapidly and noiselessly moved diago- 
 nally across the chamber in the path represented 
 by the dotted line d\ and be withdrawn when- 
 ever desired. This can conveniently be done by 
 running it in guides and upon rollers to and from 
 a position where it is hidden by a screen, e, 
 which limits the view of the audience in this di- 
 rection. 
 
 " In consequence of the exact correspondence 
 of the two parts of the chamber c, that in front
 
 Sta(;e ^rfcfts 219 
 
 and that behind the mirror, the audience will ob- 
 serve no change in appearance when the mirror 
 is passed across. 
 
 " The front of the chamber is partially closed 
 at c^ by a shield or short partition- wall, either 
 permanently or whenever required. This is done 
 in order to hide from direct view any object, 
 which may be at or about the position c^. 
 
 "The illusions may be performed in various 
 ways — as, for example, an object may, in the 
 sight of the audience, be passed from the stage 
 to the position c^, near the rear short wall or 
 counterpart shield /*, diagonally opposite to and 
 corresponding with the front corner shield c^, 
 and there be changed for some other. This 
 is done by providing beforehand a dummy at 
 c', closely resembling the object at c^. Then 
 when the object is in its place, the mirror is 
 passed across without causing any apparent 
 change. The object, when hidden, is changed 
 for another object externally resembling the first, 
 the mirror is withdrawn, and the audience may 
 then be shown in any convenient way that the 
 object now before them differs from that which 
 their eyesight would lead them to suppose it to 
 be. 
 
 " We prefer, in many cases, not to use an ordi-
 
 220 fS^aQic 
 
 nary mirror, d, but one of graduated opacity. 
 This may be produced by removing the silvering 
 from the glass in lines ; or, if the glass be silvered 
 by chemical deposition, causing the silver to be 
 deposited upon it in lines, somewhat as repre- 
 sented by Fig. 63. Near one side of the glass the 
 lines are made fine and open, and progressively 
 in passing toward the other side they become 
 bolder and closer until a completely-silvered sur- 
 face is reached. Other means for obtaining a 
 graduated opacity and reflecting power may be 
 resorted to. 
 
 " By passing such a graduated mirror between 
 the object at c^ and the audience, the object may 
 be made to fade from the sight, or gradually to 
 resolve itself into another form." 
 
 Hopkins in his fine work on "Magic, stage 
 illusions, etc.," thus describes one of the many 
 effects which can be produced by the Blue Koom 
 apparatus. The curtain rises, showing " the stage 
 set as an artist's studio. Through the centre of 
 the rear drop scene is seen a small chamber in 
 which is a suit of armor standing upright. The 
 floor of this apartment is raised above the level 
 of the stage and is approached by a short flight 
 of steps. When the curtain is raised a servant 
 makes his appearance and begins to dust and
 
 stage ^ricfts 221 
 
 clean the apartments. He finally comes to the 
 suit of armor, taking it apart, cleans and dusts 
 it, and finally reunites it. Xo sooner is the 
 suit of armor perfectly articulated than the soul- 
 less mailed figure deals the servant a blow. The 
 domestic, with a cry of fear, drops his duster, flies 
 down the steps into the large room, the suit of 
 armor pursuing him, wrestling with him, and 
 kicking him all over the stage. When the suit 
 of armor considers that it has punished the serv- 
 ant sufficiently, it returns to its original position 
 in the small chamber, just as the master of the 
 house enters, brought there by the noise and cries 
 of the servant, from whom he demands an ex- 
 planation of the commotion. Upon being told, 
 he derides the servant's fear, and, to prove that 
 he was mistaken, takes the suit of armor apart, 
 throwing it piece by piece upon the floor." 
 
 It is needless, perhaps, to explain that the suit 
 of armor which becomes endowed with life has a 
 man inside of it. When the curtain rises a suit 
 of armor is seen in the Blue Eoom, at H, (Fig. 
 65). At I is a second suit of armor, concealed 
 behind the proscenium. It is the duplicate of the 
 visible one. When the mirror G is shoved diago- 
 nally across the room, the armor at H becomes 
 invisible, but the mirror reflects the armor con-
 
 222 
 
 /Iftaslc 
 
 cealed at I, making it appear to the spectators 
 that the suit at H is still in position. An actor 
 dressed in armor now enters behind the mirror, 
 removes the suit of armor at H, and assumes its 
 place. When the mirror is again withdrawn, the 
 armor at H becomes endowed with life. Again 
 the mirror is shoved across the apartment, and 
 
 the actor re- 
 places the origi- 
 nal suit of ar- 
 mor at H. It 
 is this latter 
 suit which the 
 master of the 
 house takes to 
 pieces and casts 
 upon the floor, 
 in order to 
 quiet the fears 
 of the servant. 
 This most in- 
 genious apparatus is capable of many novel effects. 
 Those who have witnessed Prof. Kellar's per- 
 formances will bear witness to the statement. 
 When the illusion was first produced in England, 
 a sketch was written for it by the famous 
 Burnand, editor of "Punch." It was entitled 
 
 Fig. 65, — Diagram of Blue Room
 
 stage Q:rlch5 
 
 223 
 
 " Curried Prawns." A plethoric old gentleman 
 who had been indulging in a midnight dish of 
 curried prawns goes to bed, and is visited by a 
 soul-terrifying nightmare. Mephistopheles sud- 
 denly appears to him, and introduces him to the 
 mysteries of the nether world. 
 
 Levitation. — The performer places a board 
 on the tops of two chairs. A lady is laid on the 
 
 Fig. 66. — Levitation Act 
 
 board, and pretended mesmeric passes made over 
 her by the magician. The chairs are now re- 
 moved one after the other, and the lady is seen 
 floating in the air (Fig, 66). The performer then 
 walks completely around her. In order to
 
 224 
 
 /nsa^fc 
 
 Fig. 67. — Top View of Apparatus 
 
 show still more conclusively that she is not 
 supported by any arrangement of wires, etc., he 
 passes a large solid iron hoop, previously given 
 for inspection to the spectators, over her ; be- 
 ginning at her 
 head. This 
 seeming mir- 
 acle, vaunted as 
 a Hindoo mys- 
 tery, is accom- 
 plished in the 
 following man- 
 ner: The board, 
 A, A (Fig. 67), 
 upon which the lady reclines, is about three feet 
 distant from 
 the back scene. 
 This back- 
 ground is pro- 
 vided with a 
 slit through 
 which an assist- 
 ant pushes three 
 iron rods {c, d, 
 e), beneath the board. Another important part 
 of the apparatus is a small car, to which the rods 
 are attached, the construction of which is ex- 
 
 Fig. 68. — Side View of Apparatus
 
 plained in Fig. 67 and Fig. 6S, which gives a side 
 view of the car. Kos. 1 and 2 are the wheels 
 on which the car is propelled. The iron bars, 
 of which only one is shown in the diagram, run 
 in front over a roller, 3, and at the back be- 
 tween two rollers, 4 and 5, so that the as- 
 sistant can easily push the bars under the board, 
 c, which holds the lady. The extreme ends of 
 the bars, at the back, are counterbalanced in 
 order to equalize the weight. To enable the per- 
 former to go behind the floating lady, also to 
 pass the hoop about her, the assistant pulls away 
 the iron bar at one end. As soon as the per- 
 former and the hoop have cleared the first bar, it 
 is pushed back into place again, and the next bar 
 withdrawn, allowing free passage to the third 
 bar, which is also withdrawn, after the centre bar 
 has been pushed back. The arms of the lady 
 overhanging the board and her dress conceal 
 effectually the iron bars from view of the audience. 
 
 The Saratoga Trunk Mystery. — A lady is 
 put into a bag and locked in a trunk, on top 
 of which a gentleman takes a seat. Two assist- 
 ants hold a cloth in front of the trunk for a few 
 seconds. On taking away the cloth the lady is 
 seen sitting on the trunk while inside of it, after
 
 226 
 
 OsnQic 
 
 unlocking the same, is found the gentleman tied 
 in the bag. 
 
 The actors in this illusion have to work with 
 extreme quickness. 
 
 The bag in which the 
 lady is tied has at the bot- 
 tom a false seam, made of 
 wide stitches, so that when 
 one end of the thread is 
 pulled the whole comes out 
 easily leaving the bottom of 
 bag open. 
 
 In this way the lady es- 
 capes from the bag without 
 
 69.— Section of 
 Trunk 
 
 injuring the ties 
 in any way. The 
 lid of the trunk is 
 prepared so that 
 one section of it 
 opens inward (Fig. 
 69 h). The frame 
 (Fig. 70) is solid, 
 whereas the strip 
 F which runs 
 
 Fig. 70.— Frame of Trunk 
 
 across the top can be pushed sideways. To open 
 the trunk the strip F is pushed aside, which re- 
 leases a concealed mechanism that keeps the false
 
 stage ^ricfte 227 
 
 panel shut. The gentleman opens the panel, in 
 the manner above described, whereupon the lady 
 gets out of the trunk. She assists the gentleman 
 to get into the bag, and closing the panel, takes 
 her seat on the top of the trunk.
 
 CHAPTEH XI 
 
 SHADOWGRAPHY 
 
 The idea of projecting silhouettes with the 
 hands on a wall or illuminated screen is an old 
 one, but it has been brought to great perfection 
 by the celebrated French conjurer and juggler, 
 M. Felician Trewey, and his English confreres, 
 David Devant, Ellis Stanyon, and Hilliar. Nota- 
 ble among the American exhibitors of shadow- 
 graphy is Olivette, the " Man in Black," whose 
 clever fingers have added many new and amusing 
 figures to the already long list. The above named 
 artists enact little pantomimic scenes, such as a 
 fisherman in a boat, going through the usual evo- 
 lutions of a disciple of Izaak Walton ; a policeman 
 making love to a servant girl ; a concierge quar- 
 reling with a belated lodger ; a lover serenading 
 his sweetheart, etc. 
 
 These shadows are best made on a screen, 
 which is illuminated by " a single lamp inclosed 
 in a projecting apparatus throwing very divergent 
 
 228
 
 S^baDowflrapbi? 229 
 
 rays. The lens must consequently be of very 
 short focus. The electric light or oxy hydrogen 
 lamp necessary in a theatre may be replaced at 
 the amateur's house by a lamp, or better, by a 
 wax candle." Various little accessories such as 
 pieces of cardboard, fashioned to represent head- 
 gear and the like, are used in the formation of 
 many of the more elaborate figures. The use of 
 such material is depicted in the illustrations. 
 Makers of magical apparatus manufacture these 
 accessories, but the clever amateur can cut them 
 out from sheets of cardboard without going to 
 the expense of purchasing them. 
 
 A cheap and easy way of manufacturing a sil- 
 houette of a friend is to have him pose in front 
 of a sheet of paper hung against a wall which is 
 illuminated by a candle. All you have to do is 
 to outline with a pencil the shadow cast by his 
 face, and afterward fill in the white space with 
 black paint or crayon. The famous Levater con- 
 structed an ingenious device for making sil- 
 houettes. It is thus described in his work on 
 physiognomy : " The shadow is projected upon a 
 fine paper, well oiled and dried, and placed be- 
 hind a piece of plate-glass supported in a frame 
 secured to the back of the chair. Behind this glass 
 the artist stands, and holding the frame with one
 
 230 /ftaalc 
 
 hand, draws with the other." A candle furnished 
 the necessary light. 
 
 During the French Eevolution, it was a dan- 
 gerous thing to possess a likeness of the 
 martyred King Louis XVI. The scions of the 
 nobility, resident in Paris in disguise, living, 
 as it were, in the shadow of the guillotine, 
 carefully hid all souvenirs of the king and royal 
 family, until better days should dawn. To 
 be found in possession of a portrait of the ill- 
 fated Louis meant denunciation and death. Fi- 
 nally a clever wood carver of royalist persuasion 
 succeeded in fashioning a cane which would throw 
 a silhouette upon a wall — a likeness of Louis 
 XYI. He drove a great trade among the aristo- 
 crats, who carried these walking sticks about 
 with impunity, flourishing them under the very 
 noses of the revolutionists. Nobody could pos- 
 sibly suspect a cane. Chessmen were also made 
 on similar principles. When the tables were 
 turned and Louis XYIII came to his own again, 
 it was a dangerous thing to indulge in Napoleonic 
 relics. A carver in wood, possibly an old soldier 
 of the Imperial Guard, constructed a silhouette 
 cane for the suppressed Bonapartists. 
 
 The illustrating of books and magazines with 
 silhouette pictures has recently come into vogue.
 
 Sba&ow0rapbi2 231 
 
 It is especially popular in Paris, where the 
 famous caricaturist Caran d'Ache, has done much 
 to elevate the art. After working at silhouettes 
 for some time, he conceived the clever idea of 
 cutting figures out in zinc and casting them upon 
 an illuminated screen ; fashioning them in sections 
 so that they could be made to work by means of 
 cords operated by assistants. His first exhibition 
 was given at the Chat Koir, a cafe much fre- 
 quented by artists and literary men. Finally a 
 special representation was gotten up at the 
 Theatre d' Application, and crowds flocked to see 
 the silhouettes. M. d'Ache is very successful in 
 representing military scenes. He projects upon 
 the screen the battles and triumphal marches of 
 the Emperor Napoleon.
 
 232 
 
 /Ibadic 
 
 PAEEOT 
 
 TWO FOXES FIGHTING
 
 SbaCtowgrapbB 
 
 233 
 
 VULTURE 
 
 COUifTRY:MAN
 
 234 
 
 ^a^tc 
 
 PIGEON 
 
 &UINOCEBOS
 
 Sba^ow5tapbl^ 
 
 BULL 
 
 FOX EATING BABBIT 
 
 SQUIBBEL
 
 236 
 
 mnQic 
 
 BUTCHER 
 
 JOCKEY
 
 Sba&owfirapbi2 
 
 237 
 
 MEPHISTOPHELES 
 
 GEIMACEE
 
 338 
 
 ASadic 
 
 » ?h 
 
 CLOWN 
 
 GOAT
 
 SbaOowflrapbie 
 
 239 
 
 SHEEP 
 
 TIGER 
 
 BEAR
 
 240 
 
 ASadfc 
 
 ELEPHANT 
 
 ^ 
 
 3ABB1XS
 
 Sba&owgrapbi2 241 
 
 r6' 
 
 PREACHER 
 
 ^ 
 
 FISHERMAN 
 
 SNDFF TAKER
 
 242 
 
 Aadic 
 
 BULL DOG 
 
 SPIDER
 
 SbaDow^rapbi^ 243 
 
 DANCING GIEL 
 
 EABBIT (2 methods)
 
 244 
 
 ASadic 
 
 GBIMACEB 
 
 £5 
 
 THE SWAN
 
 POPULAR HAND-BOOKS 
 
 COME books are designed for 
 entertainment, others for informa- 
 tion. ^ This series combines both 
 features. The information is not only 
 complete and reliable, it is compadt 
 and readable. In this busy, builling 
 age it is requiped that the information 
 which books contain shall be ready to 
 hand and be presented in the deareit 
 and briefed manner possible. Q These volumes are replete 
 with valuable information, compact in form and unequalled 
 m point of merit and cheapness. They are the lateit as 
 well as the be^ books on the subjecfls of which they treat. 
 No one who wishes to have a fund of general information 
 or who has the desire for self-improvement can afford to be 
 without them. ^ They are 6x4/4 inches in size, well 
 printed on good paper, handsomely bound in green cloth, 
 with a heavy paper wrapper to match. 
 
 Cloth, each 50 cents 
 
 THE PENN PUBLISHING COMPANY 
 923 Arch Street, Philadelphia
 
 ETIQUETTE There is no passport to good society 
 By Agnes H. Morton like good manners. ^ Even though one 
 possess wealth and intelligence, his suc- 
 cess in life may be marred by ignorance of social cu^oms. 
 €[ A perusal of this book will prevent such blunders. It is 
 a book for everybody, for the social leaders as well as for 
 those less ambitious. ^ The subjed is presented in a bright 
 and intere^g manner, and represents the late^ vogue. 
 
 LETTER WRITING Why do most persons dislike to 
 By Agnes H. Morton write letters ? Is it not because 
 
 they cannot say the right thing in 
 iht right place ? This admirable book not only shows by 
 numerous examples just what kind of letters to write, but by 
 dire(5tions and sugge^ons enables the reader to become an 
 accomplished original letter writer. ^ There are forms for all 
 kinds of business and social letters, including invitations, 
 acceptances, letters of sympathy, congratulations, and love 
 letters. 
 
 QUOTATIONS A clever compilation of pithy quola- 
 By Agnes H. Morton tions, seleded from a great variety of 
 sources, and alphabetically arranged 
 according to the sentiment. ^ In addition to all the popular 
 quotations in current use, it contams many rare bits of prose 
 and verse not generally found in similar collecflions. ^ One 
 important feature of the book is found in the characterise 
 lines from well known authors, in which the familiar sayings 
 are aedited to their original sources. 
 
 a
 
 EPITAPHS Even death has its humorous side. 
 
 By Frederic W. Unger ^ There are said to be " sermons m 
 ^ones," but when they are tombstones 
 there b many a smile mixed with the moral, fl Usually 
 churchyard humor is all the more delightful because it is 
 unconscious, but there are times when it is intentional and 
 none the less amusing. C|[ Of epitaphs, old and new, this 
 book contains the be^. It is full of quaint bits of obituary 
 fancy, with a touch of the gruesome here and there for a 
 relish. 
 
 PI^OVEI^BS The genius, wit, and spirit of a nation 
 By John H. Bechtel are discovered in its proverbs, and the 
 condensed wisdom of all ages and all 
 nations is embodied in them. ^ A good proverb that fits 
 the case is often a convincing argument. ^ This volume 
 contains a representative collecflion of proverbs, old and new, 
 and the indexes, topical and alphabetical, enable one to find 
 readily ju^ what he requires. 
 
 THINGS WORTH Can you name the colde^ place in 
 KNOWING tl^e United States or tell what year 
 
 By John H. Bechtel Had 445 days? Do you know 
 
 how soon the coal fields of the 
 world are likely to be exhausted, or how the speed of a 
 moving train may be told ? What should you do fir^ if 
 you got a cinder in your eye, or your neighbor's baby swal- 
 lowed a pin ? This unique, up-to-date book answers thou- 
 sands of ju^ such intere^g and useful qucilions. 
 
 3
 
 A DICTIONARY OF Mo^ of u$ dislike to look up a 
 MYTHOLOGY mythological subje(5l because 
 
 By John H. Bechtel o^ ^e lime required. ^ This 
 
 book remedies that difficulty 
 because in it can be found at a glance ju^ what is wanted, 
 fl It is comprehensive, convenient, condensed, and the infor- 
 mation is presented in such an intere^g manner that when 
 once read it will always be remembered. €[ A di^ndtive 
 feature of the book is the pronunciation of the proper names, 
 something found in few other works. 
 
 SLIPS OF SPEECH Who does not make them? 
 By John H. Bechtel The beft of us do. fl Why not 
 
 avoid them ? Any one inspired 
 with the spirit of self-improvement may readily do so. ^ No 
 necessity for ^dying rules of grammar or rhetoric when this 
 book may be had. It teaches both without the ^dy of 
 either. ^ It is a counsellor, a critic, a companion, and a 
 guide, and is written in a most entertaining and chatty style. 
 
 HANDBOOK OF What is more disagreeable 
 
 PRONUNCIATION than a faulty pronunciation? 
 By John H. Bechtel No other defedt so clearly 
 
 shows a lack of culture. ^ This 
 book contains over 5,000 words on which mo^ of us are 
 apt to trip. ^ They are here pronounced in the cleared and 
 simple^ manner, and according to the be^ authority fl It 
 is more readily consulted than a di(5lionary» and b ju^ as 
 reliable. 
 
 4
 
 PRACTICAL A new word is a new tool. ^ This 
 
 SYNONYMS ^<^^ ^ ^o^ o^y enlarge your vocabu- 
 Sy John M. Bechtcl l^ry, but will show you how to express 
 the exa(5t shade of meaning you have 
 in mind, and will cultivate a more precise habit of thought 
 and speech. ^ It will be found invaluable to busy joumaliils, 
 merchcints, lawyers, or clergymen, and as an aid to teachers 
 no less than to the boys and girls under their care. 
 
 READY MADE SPEECHES Pretty much everybody 
 By George Hapgood, Esq. in these latter days, is 
 
 now and again called 
 upon "to say a few words in public." ^ Unfortunately, 
 however, but few of us are gifted with the power of ready 
 and graceful speech. ^ TTiis is a book of carefully planned 
 model speeches to aid those who, without some slight help, 
 mu^ remain silent. ^ There is a preliminary chapter of gen- 
 era] advice to speakers. 
 
 AFTER-DINNER The dinner itself may be ever so 
 STORIES good, and yet prove a failure if there 
 
 By John Harrison " ^^ ™^t^ ^o «"^ven the company. 
 
 ^ Nothing adds so much zest to an 
 occasion of this kind as a good ^ory well told. ^ Here are 
 hundreds of the lateil, be^, brighter, and mo^ catchy Tories, 
 all of them short and pithy, and so easy to remember that 
 anyone can tell them successfully. ^ There are abo a 
 number of seleded toa^ suitable to all occasions. 
 
 5
 
 TOASTS Mo^ men dread being called upon to 
 
 By William Pitienger respond to a toa^ or to make an ad' 
 dress. ^ What would you not give for 
 the ability to be rid of this embarrassment ? No need to 
 give much when you can learn the art from this little book. 
 fl It will tell you how to do it ; not only that, but by ex- 
 ample it will show the way. ^ It is valuable not alone to 
 the novice, but to the experienced speaker, who wiH gather 
 from it many sugge^ions. 
 
 THE DEBATER'S There is no greater ability than 
 TREASURY tl^e power of skillful and forcible 
 
 By William Pittenger debate, and no accomplishment 
 
 more readily acquired if the person 
 is properly direded. ^ In this little volume are diredions for 
 organizing and conducing debating societies and pracftical 
 sugge^ons for all who desire to discuss que^ons in public. 
 fl There is also a liit of over 200 que^ons for debate, with 
 arguments both af&rmative and negative. 
 
 PUNCTUATION Few persons can punctuate properly ; 
 By Paul Allardycc to avoid mi^akes many do not pundu- 
 
 ate at all. ^ A perusal of this book 
 vsrill remove all difficulties and make all points clear. ^ The 
 rules are plainly ^ated and freely illu^ated, thus furnishing 
 a mo^ useful volume. ^ The author is everywhere recog- 
 nized as the leading authority upon the subjed, and what 
 he has to say b pradical, concise, and comprehensive. 
 
 6
 
 OI^ATOR,Y Few men ever enjoyed a wider ex- 
 
 By Henry Wird Beccher perience or achieved a higher repu- 
 tation in public speaking than Mr. 
 Bcecher. fl What he had to say on this subje<fl was bom 
 of experience, and his own inimitable style was at once both 
 statement and illu^ation of his theme. ^ Tliis volume is a 
 unique and masterly treatise on the fundamental principles of i 
 true oratory. ' 
 
 CONVERSATION Some people are accused of talking 
 By J. P. AUhaffy too much. But no one is ever 
 
 taken to task for talking too wefl. 
 fl Of all the accomplishments of modem society, that of 
 being an agreeable conversationalist holds fir^ place. 
 Nothing is more delightful or valuable. ^ To sugge^ what 
 to say, juit how and when to say it, is the general aim of 
 this work, and it succeeds mo^ admirably in its purpose. 
 
 READING The ability to read aloud well, 
 
 AS A FINE AI^T whether at the fireside or on the 
 By Em«t Legouve public platform, is a fine art. 
 
 Q The direcflions and sugge^ions 
 contained in this work of ^ndard authority will go far 
 toward the attaiimient of this charming accomplishment. 
 ^ The work is especially recommended to teachers and 
 others interested in the in^rudion of public school pupils. 
 
 7
 
 SOCIALISM Socialism is " in the air.'* fl References 
 
 By Charles H. Olin to the subject are conftantly appearing 
 in newspapers, magazines, and other 
 publications. ^ But few persons except the sociali^s them- 
 selves have more than a dim comprehension of what it really 
 means, fl This book gives in a clear and interesting manner 
 a complete idea of the economic doctrines taught by the beit 
 sociali^. 
 
 JOURNALISM What is news, how is it obtained, how 
 By Charles H. Olin handled, and how can one become a 
 Journalist? ^ These questions are all 
 answered in this book, and detailed inStrudtions are given for 
 obtaining a position and writing up all kinds of "assign- 
 ments." ^ It shows what to avoid and what to cultivate, 
 and contains chapters on book reviewing, dramatic criticism 
 and proofreading. 
 
 VENTRILOQUISM Although always a delightful form 
 By Charles H. Olln of entertainment, Ventriloquism is 
 
 to moSl of us more or less of a 
 mystery fl It need be so no longer, fl This book exposes 
 the secrets of the art completely, and shows how almoSt 
 anyone may leam to " throw the voice " both near and far. 
 fl Diredtions for the conStru(ftion of automatons are given 
 as well as good dialogue for their successful operation. 
 Q Fully illustrated. 
 
 8
 
 CONUNDF^UMS Conundrums sharpen our wits and 
 By Dean Riven lead us to think quickly. Q They are 
 
 also a source of infinite amusement 
 and pleasure, whiling away tedious hours and putting every- 
 one in good humor. ^ This book contains an excellent col- 
 le<5lion of over a thousand of the late^, brighter, and mo^ 
 up-to-date conundrums, to which are added many BiblicaL 
 poetical, and French conundrums. 
 
 MAGIC There is no more delightful form of enter- 
 
 By Ellii SUnyon tainment than that afforded by the per- 
 formances of a magician. ^ My^erious as 
 these performances appear, they may be very readily learned 
 if carefully explained. ^ This book embraces full and 
 detailed descriptions of all the well known tricks with coins, 
 handkerchiefs, hats, flowers, and cards, together with a 
 number of novelties not previously produced or explained. 
 fl Fully illustrated. 
 
 HYPNOTISM There is no more popular or 
 
 By Edward H. Eldridge, A. M. intere^g form of entertain- 
 ment than hypnotic exhibitions, 
 and everyone would like to know how to hypnotize. ^ By 
 following the simple and concise mArudions contained in this 
 complete manual anyone may, with a little pradice, readily 
 learo how to exercise this unique and ^ange power, 
 
 .9.
 
 WHIST "According to Cavendish" is now 
 
 By Cavendish almoft as familiar an expression as 
 
 jTwenty .third Edition "according to Hoyle." ^ No whist 
 / player, whether a novice or an expert, 
 
 can afford to be without the aid and support of Cavendish. 
 No household in which the game is played is complete 
 without a copy of this book. ^ This edition contains all of 
 the matter found in the Ejiglish publication and at one-fourth 
 the co^. 
 
 PARLOR GAMES " What shaU we do to amuse our- 
 By Helen E. Hollister selves and our friends?" is a ques- 
 
 tion frequently propounded on rainy 
 days and long winter evenings. ^ This volume moA happily 
 answers this queilion» as it contains a splendid coUedtion of 
 all kinds of games for amusement, entertainment, and instruc- 
 tion. ^ The games are adapted to both old and young, and 
 all classes will find them both profitable and intere^ing. 
 
 ASTRONOMY : Can you lefl what causes 
 
 The Sun and His Family ^^y and night, seasons 
 
 By Julia MacNair Wright and years, tides and 
 
 eclipses? Why is the 
 sky blue and Mars red ? What are meteors and shooting 
 ^ars ? ^ These and a thousand other que^ons are answered 
 in a mo^ fascinating way in this highly intere^g volume. 
 Few books contain as much valuable material so pleasantly 
 jpacked m so small a space. Q lllu^rated. 
 
 lo
 
 BOTANY : The scientific study of 
 
 The Story of Plant Life ^o^^ny made as intere^- 
 
 By Jdia MacNair Wright "^8 as a faiiy tale, q It is 
 
 better reading than such 
 tales, because of the profit. ^ Each chapter is devoted to 
 the month of the year in which plants of that month are in 
 evidence. Not only is the subjedt treated with accuracy, 
 but there is given much practical information as to the care 
 and treatment of plants and flowers. ^ Ululated. 
 
 FLOWEI^S: Every woman loves flowers, 
 
 How to Grow Them ^^^ f^w succeed in growing 
 
 By Eben E. Rexford ^em. With the help so 
 
 clearly given in this book no 
 one need fail, q It treats mainly of mdoor flowers and plants 
 — those for window gardening ; all about their selection, care, 
 soil, air, light, warmth, etc. ^ The chapter on table decora- 
 tion alone is worth the price of the book. ^ While the sub- 
 jedl of flowers is quite thoroughly covered, the ^le used is 
 plain, simple, and free from all technicalities. 
 
 DANCING A complete in^lrucflor, beginning v^th 
 
 By Marguerite Wilson the fir^ positions and ^eps and leading 
 up to the square and round dances. 
 ^ It contains a full li^ of calls for all of the square dances, 
 and the appropriate music for each figure, the etiquette of 
 the dances, and 1 00 figures for the german. ^ It is unusu- 
 ally well Ululated by a large number of original drawings. 
 q Without doubt the be^ book on the subjea. 
 .XX ,
 
 ASTROLOGY If you wish to obtain a horoscope oi 
 By M. M. Macgre jor your entire life, or if you would like to 
 know in what business or profession you 
 will beil succeed, what friends you should make, whom you 
 should marry, the kind of a person to choose for a business 
 partner, or the time of the month in which to begin an 
 enterprise, you will find these and hundreds of other vital 
 que^ons solved in this book by the science of Apology. 
 
 PHYSIOGNOMY How can we judge whether a man 
 By Leilt Lomax may be tru^ed to handle money for 
 
 us? ^ How can a woman analyze 
 a man who would marry her ? ^ Partly by words, partly 
 by voice, partly by reputation, but more than all by looks — 
 the shape of the head, the set of the jaw, the line of the 
 mouth, the glance of the eye. fl Physiognomy as explained 
 in this book shows clearly how to read charadler with every 
 point explained by illu^ations and photographs. 
 
 GI^APHOLOGY : Do you know that every 
 
 How to Read Character lime you write five or 
 from Handwriting «« ^^^ y°" ^^"^i*^ * 
 
 By Clifford Howard complete record of your 
 
 charader? Anyone who 
 underilands Graphology can tell by simply examining your 
 handwriting ju^ what sort of a person you are. fl There is 
 no method of charader reading that is more interesting, more 
 trustworthy, and more valuable than that of Graphology, 
 and it is the aim of this volume to enable anyone to become 
 a maiter of this moSt fascinating art.
 
 University of California 
 
 SOUTHERN REGIONAL LIBRARY FACILITY 
 
 405 Hilgard Avenue, Los Angeles, CA 90024-1388 
 
 Return this material to the library 
 
 from which it was borrowed. 
 
 JAN 191996
 
 
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